View allAll Photos Tagged Repousse
Acanthus leaf detail on the pummel of the Liberty torch up close and personal. Hammered “repousse” from 1/16” 0.0625” thick copper attached with rivets to an internal wrought iron armature.
Impeccable craftsmanship by brilliant artisans and masters of their craft.
A once proud symbol of a once proud and noble country.
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Canon A1
50 mm lens
Kodak Ektrachrom
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
The utterly beautiful Statue of Liberty, Liberty Island, New York - I took this in October 2004 on my first visit to see New York City...visiting Lady Liberty was a real thrill and it was a perfect sunny, clear blue sky day - she looked magnificent!
THE STATUE OF LIBERTY
Liberty Enlightening the World (French: La liberté éclairant le monde), known more commonly as the Statue of Liberty (Statue de la Liberté), is a large statue that was presented to the United States by France in 1886. It stands at Liberty Island, New York in New York Harbor as a welcome to all visitors, immigrants, and returning Americans. The copper-clad statue, dedicated on October 28, 1886, commemorates the centennial of the United States and is a gesture of friendship from France to America. Frédéric Auguste Bartholdi sculpted the statue, and Alexandre Gustave Eiffel (designer of the Eiffel Tower) engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the repoussé technique.
The statue is of a female figure standing upright, dressed in a robe and a seven point spiked rays representing a nimbus (halo), holding a stone tablet close to her body in her left hand and a flaming torch high in her right hand. The tablet bears the words "JULY IV MDCCLXXVI" (July 4, 1776), commemorating the date of the United States Declaration of Independence.
The statue is made of a sheeting of pure copper, hung on a framework of steel (originally puddled iron) with the exception of the flame of the torch, which is coated in gold leaf. It stands atop a rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. The statue is 151' 1" (46.5 m) tall, with the pedestal and foundation adding another 154 feet (46.9 m).
Worldwide, the Statue of Liberty is one of the most recognizable icons of the United States, and, more generally, represents liberty and escape from oppression. The Statue of Liberty was, from 1886 until the jet age, often one of the first glimpses of the United States for millions of immigrants after ocean voyages from Europe. The Statue of Liberty's obviously classical appearance (Roman stola, sandals, facial expression) derives from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Broken shackles lie at her feet. The seven spikes in the crown represent the Seven Seas and seven continents. Her torch signifies enlightenment. The tablet in her hand shows the date of the nation's birth, July 4, 1776.
Since 1903, the statue, also known as "Lady Liberty," has been associated with Emma Lazarus's poem “The New Colossus” and has been a symbol of welcome to arriving immigrants. The interior of the pedestal contains a bronze plaque inscribed with the poem, which reads:
“Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"
There are 354 steps inside the statue and its pedestal. There are 25 windows in the crown which comprise the jewels beneath the seven rays of the diadem. The tablet which the Statue holds in her left hand reads, in Roman numerals, "July 4, 1776" the day of America's independence from Britain. The Statue of Liberty was engineered to withstand heavy winds. Winds of 50 miles per hour cause the Statue to sway 3 inches (7.62 cm) and the torch to sway 5 inches (12.7 cm). This allows the Statue to move rather than break in high [wind load] conditions.
Source: Wikipedia
...oh Joie !!
*Pressée de revoir les beaux jours, j'ai fait entrer ces repousses de mes tulipes, à peine aperçues hier, et les ai collées sur une deuxème photo d'un abat-jour du salon:
un collage avec PhotoFiltre.
Bon jeudi santé ! xx
... oh Joy !!
*In a hurry to see the beautiful days again, I brought in these regrowths of my tulips, barely seen yesterday, and stuck them on a second photo of lampshade in the living room:
a collage with PhotoFiltre.
Have a Healthy Thursday! xx
An exhibition piece de gozne ivory ‘San Miguel Arkanghel’ figure with gold and silver accoutrements
ESTIMATE: PHP 1,500,000 - 1,800,000
Early 19th century
Manila
Ivory head, hands, legs; gold wings, helmet, shield, and closed-toe boots; silver sword; lightwood San Miguel’s mannequin body, devil figure, and base; polychrome and gesso
Without stand: 33 x 18 x 14 cm (13 x 7 x 5 1/2 in)
With stand: 42 x 18.5 x 14.5 cm (16 1/2 x 7 1/4 x 5 3/4 in)
Literature:
Regalado Trota Jose, Images of Faith: Religious Ivory Carvings from the Philippines, 1990, p. 92
Exhibition:
"Images of Faith: Religious Ivory Carvings from the Philippines," 1990, USC Pacific Asia Museum, Pasadena
Provenance:
Collection of Johnny Ramirez, Manila
San Miguel Arkanghel, or St. Michael the Archangel, is most popularly depicted in Christian art as the armored angel with sword and shield, trampling Satan beneath his feet. This exquisite santo stands out for its exceptional craftsmanship, high-quality materials, notable former owner, and feature in a book published over 30 years ago. Its well-carved, well-preserved ivory head, arms, and legs are mounted on a de gozne or mannequin body. The detailed chasing and repoussé work in precious gold and silver are evident in the helmet—resembling a cuirass—along with the scaled-down sword with its wavy blade and crossguard, the buckler shield, closed-toe boots, and a pair of wings. San Miguel’s compassionate expression and overall pale, neutral tones contrast beautifully with the bemused, mischievous look of the dark-painted devil, emphasizing the universal theme of Good over Evil—a hopeful reminder that goodness always triumphs.
This santo was one of Johnny Ramirez’s most prized acquisitions and had always had a special place on top of an exquisite kamagong chest of drawers in the sitting room of his luxurious penthouse condominium unit in the metropolis. He lent this santo to the Pacific Asia Museum for their second major exhibition on religious ivories in 1990, and it appeared in the accompanying exhibition catalog.
Lot 710 of the Salcedo Auctions online and live auction on 27 September 2025. For more information and to place an online bid, please go to salcedoauctions.com.
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
Like many artists, we gravitate back to nature periodically. There is an eternal lure of plant forms in jewelry. This is the first of a new series that we have been working on for a while now. We wanted to incorporate a broader spectrum of the materials and techniques that we use into each individual piece. Also, we are employing a lot more color. The Au Natural Necklace combines repousse, carving, color on metal, resin casting and fabrication.
Sterling silver, brass, wood, rubber, resin, pearl.
Fabricated, cast, carved, color on metal
Griffin attacking a deer. Gold flask with reposse decoration. Sassanian, 5th Century AD. Vienna, Austria. Copyright 2016, James A. Glazier.
On 24 gauge aluminum, 8.5" x 6". 41 hours - Sheesh! Happy with it anyway. These huge birds fish ferociously in our pond all summer.
Design: Vincent Canlas
MetalSmith/Artist: Dodong Azares
Photo: Larry Orque Jr.
Influenced and inspired by Potencias in Sevilla, Spain.
This is a new set of Potencias made for Cristo of the La Transfiguracion tableau. Made of gold and silver plate-finished with beautiful repousse' bronze cherubs and Swarovski stones forming the letters J-H-S on each piece.
Please feel free to visit - www.latransfiguracion.com
Fibula (rear chamber, Regolini-Galassi Tomb, Cerveteri), 670–650 B.C.E., gold, 29.2 cm long Museo Gregoriano Etrusco, Musei Vaticani)
Don't forget to put on your special glasses.
www.jango.com/stations/68932142/tunein?song_id=8186
Golden Years/David Bowie
Ce petit lézard a perdu sa queue par autotomie (voir sa photo en juin : www.flickr.com/photos/193578743@N03/53024143541/), ce qui n'est pas sans conséquence pour sa vie. Sa queue repousse mais est moins belle.
This little lizard has lost its tail by autotomy (see its photo in June: www.flickr.com/photos/193578743@N03/53024143541/), which is not without consequences for its life. Its tail is growing back but is less beautiful.
Personifications, like this one of the goddess Roma, were creations of the classical world that remained popular in Byzantium. Gold wrought and worked in repoussé.
Byzantine, made 400-500 CE in Rome.
Met Museum, gift of J. Pierpont Morgan, 1917 (17.190.2053)
Petite scène du quotidien ovin. Comme vous pouvez le constater il n'y a plus beaucoup d'herbe verte, même si on en voit qui repousse après plusieurs épisodes de pluie (ouf)
Scene of everyday sheep life. As you can see there is not a lot of green grass, even if some is growing again after several episodes of rain (phew)
A 15 000 années-lumière de la Terre dans la constellation de la Flèche ou du Sagittaire (Sagittarius), l'étoile Wolf-Rayet 124 (WR 124), massive et super brillante, fait 30 fois la masse du Soleil et a perdu 10 soleils de matière jusqu'à présent (la nébuleuse annulaire de matière expulsée est dite M1-67). Lorsque le gaz éjecté s'éloigne de l'étoile et se refroidit, de la poussière cosmique se forme et brille dans la lumière infrarouge.
Si la caméra proche infrarouge de Webb (NIRCam) équilibre la luminosité du noyau stellaire du WR 124 et les détails noueux dans le gaz environnant plus faible, l'instrument infrarouge moyen du télescope (MIRI) révèle quant à lui la structure agglomérée de la nébuleuse de gaz et de poussière du matériau éjecté entourant maintenant l'étoile.
Description de l'image
Une étoile proéminente à huit branches brille d'un blanc éclatant au centre de l'image composite. Un nuage de matière agglomérée entoure cette étoile centrale, avec plus de matière au-dessus et en dessous que sur les côtés, permettant à certains endroits aux étoiles d'arrière-plan de voir à travers. Le matériau nuageux est d'un jaune foncé près de l'étoile et vire au violet rosé sur ses bords extérieurs. Ensemble, l'étoile centrale et son nuage ressemblent aux délicats pétales d'une fleur de cerisier. Le fond noir comporte de nombreuses petites étoiles blanches dispersées partout.
L'étoile chaude et lumineuse Wolf-Rayet 124 (WR 124) est proéminente, combinant des longueurs d'onde de lumière proche infrarouge et moyen infrarouge, l'instrument infrarouge moyen (MIRI) révèlant la structure de la nébuleuse.
Plutôt que de coquilles lisses, celle-ci est formée d'éjections aléatoires et asymétriques. Des touffes lumineuses de gaz et de poussière apparaissent comme des têtards nageant vers l'étoile, avec des queues qui s'écoulent derrière eux, repoussées par le vent stellaire (cf. NASA, ESA, CSA, STScI, Webb ERO Production Team).
Pour situer l'étoile Wolf-Rayet WR 124 dans sa constellation de la Flèche ou du Sagittaire (Sagittarius) :
Gold death-mask, known as the ‘mask of Agamemnon’. Mycenae, 16th cent. BC.
The mask depicts the imposing face of a bearded man. It is made of a gold sheet with repousse details. Two holes near the ears indicate that the mask was held in place over the deceased’s face with twine.
One of many stunning items in The Archeological Museum, Athens.
Portlandia is a sculpture by Raymond Kaskey located above the entrance of Michael Graves' Portland Building in downtown Portland, Oregon at 1120 SW 5th Avenue. It is the second-largest copper repoussé statue in the United States, after the Statue of Liberty.
Raymond Kaskey, Greg Pettengill and Michael LaSalle built sections of the statue in one of the Maryland suburbs of Washington, D.C., and shipped the parts to Portland by rail. It was assembled at a barge building facility, Gunderson, Inc. It was installed on October 6, 1985 after being floated up the Willamette River on a barge.
The statue is based on the design of the city seal. It depicts a woman dressed in classical clothes, holding a trident in the left hand and reaching down with the right hand to greet visitors to the building.
The statue itself is 34 feet, 10 inches (10.6 meters) high. If standing, the woman would be about 50 feet (15 m) tall. An accompanying plaque contains a poem by Portland resident Ronald Talney.
The statue is above street level, and faces a narrow, tree-lined street with limited automobile access. Occasionally, there are suggestions to move the statue to a more visible location, but these have come to nothing and the sculptor states that he designed the statue for its location and would not approve of moving it.
It has also been claimed that Portlandia's relatively low profile results from sculptor Kaskey's close guarding of his intellectual property. Unlike the Statue of Liberty, Portlandia may not be reproduced for any commercial purpose without permission from the artist. The rights to the image of Portlandia remain the sole property of Mr. Graves. The Regional Arts & Culture Council maintains the statue.
Info courtesy of Wiki ‘cause they never lie.
Pissenlit, ou dent-de-lion, est un nom vernaculaire ambigu en français.
Ce sont des plantes vivaces, de plein soleil ou mi-ombre, à racine charnue pénétrant profondément dans le sol (plus de 50 centimètres), ce qui leur permet de résister au gel intense des régions froides (Russie, Canada). Dans ces régions, la partie aérienne meurt à la fin de l'automne, mais repousse dès la fonte des neiges, et la floraison survient une vingtaine de jours après la repousse ; une autre floraison de moindre importance se produit parfois en fin d'été.
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Pissenlit, or dent-de-lion, is an ambiguous vernacular name in French.
They are perennial plants, in full sun or partial shade, with a fleshy root penetrating deep into the ground (more than 50 centimeters), which allows them to resist the intense frost of cold regions (Russia, Canada). In these regions, the aerial part dies at the end of autumn, but regrows as soon as the snow melts, and flowering occurs around twenty days after regrowth; another less important flowering sometimes occurs at the end of summer.
Donaufelder Parish
View from Danube Tower to the Donaufelder church
Inside view towards to the altar of the Donaufelder Church
The Roman Catholic Donaufelder parish church (St. Leopold) is located in 21 District of Vienna Floridsdorf. The according to plans of building officer Franz Ritter von Neumann built neo-Gothic brick building (with Art Nouveau interior design) is surrounded by a small park on the Kinzerplatz in the district part of Danube field (Donaufeld).
History
The Donaufelder parish church originally was planned as a bishop's church of a new Lower Austrian diocese. This explains the enormous scale of this parish (in the parish about 7,000 Catholics live). But the higher policy had it otherwise and the new diocese was never established. Thus Danube field came to its imposing parish church.
At the laying of the foundation stone on 6 June 1905 took part a number of important personalities, at the head of those participants, Emperor Franz Joseph I. with the then Mayor of Vienna Dr. Karl Lueger. Furthermore, were Archduke Friedrich, Archduke Leopold Salvator and the provost of Klosterneuburg monastery Bernhard Johannes Peitl present. The foundation stone now is walled in the apse to the left of the high altar.
With the construction of the church building originally building officer Franz Ritter von Neumann was commissioned. When he died even before the foundation stone was laid, architects Karl Troll and Johann Stobble supervised the construction in strict accordance with the plans of Neumann.
The solemn consecration was carried out by Cardinal Archbishop Dr. Friedrich Piffl. On the part of the Imperial family participated Archduke Peter Ferdinand. The capstone was walled in opposite the foundation stone and provided with a decorative plate.
When the church was already completed, yet two emergency exits had to be built, as subsequently was detected that with a capacity of 5,000 people too few outputs were provided.
The Sacramental altar of the church stems from the Academic Gymnasium and was only in 1940 erected. However, since it was believed it was disturbing the Art Nouveau overall picture of the church, they wanted it to have removed again. After becoming aware of the cost of 30,000 shillings, the idea of removing it later on was abandoned (for good). The Sacramental altar is still in the church today.
The building
Description
The neo-Gothic hall church made of brick has a nave with transversely positioned gabled roofs above the side aisles and a slightly lower retracted choir, which is structured by buttresses and two-part to four-part lancet windows. Side of the choir there are two storey extensions and a domed staircase turret. The northwestern gable front is flanked by domed staircase turrets; put in front is the mighty tower with an open porch and an octagonal spire.
Dimensions
The church is 35 m wide and 80 m long; the clear height of the arch is 18 m. The church tower is 96 m high. Thus, the tower is the third highest of all of Vienna. Hence, the Donaufelder parish is to be found in the center field of the list of the highest constructions in the world. Furthermore, it is also the third largest church in Vienna and has the largest timber roof of Vienna. According to official reports, It offers 5,000 people space.
The interior
In designing the interior particular emphasis was placed. The imposing high altar, carved in metal repoussé work rests on a marble base and shows the group "St. Leopold and his wife Agnes kneeling before the Virgin Mary with the Child Jesus". The Pietà of the left side altar created Arthur Kaan. From him stem also the chandeliers "Heart of Jesus" and "Heart of Mary". The right side altar comes from the Viennese artist Alexander Illitsch and displays "The Holy Family on the Flight into Egypt".
From the art historical point of view, the interior of the church is a unique Art Nouveau Gesamtkunstwerk.
Organ
The organ of the Donaufelder parish church was built in 1910 by the Viennese organ builder Josef Swoboda and is the largest yet playable left in its original state Swoboda organ. It has a total of 1,940 pipes, the smallest measuring 10 cm, the largest 9 m. The organ sonically never was changed and is regarded as a sound monument.
The prospectus of the organ adorn sculptures in relief and show the figure group "The Saint Cecilia and two kneeling angels".
The Grade II Listed former St Michael's Church which closed in 1977 and was converted into offices. On Queen Street in Derby, Derbyshire.
The parish church was of medieval origins; transferred to the Abbot of Derby in 1240 by Sir Rafe de Freshville. The chancel collapsed on 17 August 1856 which prompted the building of the new church starting on 1857. The foundation stone was laid by Sir William Evans, 1st Baronet on 15 April 1857, and the new building opened for worship on 8 April 1858. It was consecrated by The Lord Bishop of Lichfield John Lonsdale.
The new church retained some features from the old. Below the royal arms of Queen Anne on the east wall of the north aisle, there was some wrought ironwork possibly by Robert Bakewell, with repoussé ironwork, including a trumpet-bearing angel. The porch had 2 coffin slabs, one Saxon, the other 13th century. The chancel had three 18th century wall tablets.
The new church had two stained glass windows at the east end of the aisles by Gibbs and Co of London. The main east end window was by N.W. Lavers of London.
Information sources:
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
A 19th-Century Hand Painted Image of the Soledad de Porta Vaga, Appliqued with Gold and Silver Repousse
oil on silk, gold, silver
19” X 17 1/4” (48 cm x 44 cm)
Opening bid: PHP 20,000
Lot 1129 of the Leon Gallery auction on April 22 and 23, 2023. Please see leonexchange.com and leon-gallery.com for more information.
The Statue of Liberty as seen from the top of her pedestal. She is an awesome sight and from 1886 to the jet age often one of the first glimpses of the United States for millions of immigrants after ocean voyages from Europe.
Please View On Black. Thanks!
Per wiki -"The Statue of Liberty officially titled Liberty Enlightening the World, is a monument that was presented by the people of France to the United States of America in 1886 to celebrate its centennial. Standing on Liberty Island in New York Harbor, it welcomes visitors, immigrants, and returning Americans traveling by ship. The copper-clad statue, dedicated on October 28, 1886, commemorates the centennial of the signing of the United States Declaration of Independence and was given to the United States by France to represent the friendship between the two countries established during the American Revolution. Frédéric Auguste Bartholdi sculpted the statue and obtained a U.S. patent for its structure. Maurice Koechlin?chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower?engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side.
The statue is of a robed woman holding a torch, and is made of a sheeting of pure copper, hung on a framework of steel (originally puddled iron) with the exception of the flame of the torch, which is coated in gold leaf (originally made of copper and later altered to hold glass panes). It stands atop a rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. The statue is 151 ft tall, but with the pedestal and foundation, it is 305 ft tall.
Après avoir fait des parts de faune, j'ai eu envie de sculpter une queue de sirène pour mes petites Nenya...
A vrai dire j'ai repoussé ce projet pendant très longtemps, pensant qu'Aurélien (Depths Dolls) n’apprécierait peut-être pas de me voir travailler sur ce thème. Je lui ai donc montré ces photos en premier pour en discuter avec lui et ayant désormais son approbation et son soutien, allons-y !
Voilà où j'en suis, sachant que ce n'est qu'une ébauche (la nageoire est déjà un peu différente depuis que j'ai pris ces photos et le double joint plus large). Je me concentre tout d'abord sur la sculpture des joints, et une fois que tout sera opérationnel j'ajouterai des détails.
En espérant que les Nenya aquatiques vous plairont !
Merci pour votre attention <3
________________________________
After making fawn parts, I wanted to sculpt a mermaid tail for my sweet Nenya girls...
The thing is I put this project off for a very long time because I was afraid Aurélien (Depths Dolls) might me upset with me working on a mermaid too. So I showed him these pictures first and got his blessing ! So let's do this !
So this is what it looks like so far, but keep in mind that this is just a start (the fin is already a bit different since I took these pictures and the double joint is bigger). I'm focusing on getting the joints right first and then I'll add details to the tail.
I hope you'll like the aquatic Nenyas !
Thanks for watching
L'Arbre de vie est également mentionné plusieurs fois dans le Livre de l'Apocalypse, épilogue qui conclut la Bible (comme le Livre de la Genèse est son prologue), en plusieurs passages, tels que : « Que celui qui a des oreilles entende ce que l'Esprit dit aux Églises ! À celui qui vaincra, je lui donnerai à manger de l'Arbre de vie, qui est dans le paradis de Dieu. » (Ap 2,7) ; et : « Heureux ceux qui lavent leurs robes, afin d'avoir droit à l'Arbre de la vie. » (Ap 22,14) ; enfin : « Si quelqu'un retranche des paroles de ce livre prophétique, Dieu lui retranchera sa part de l'Arbre de la vie et de la Cité sainte. » (Ap 22,19).
À partir du ve siècle, à la suite de saint Augustin, l'Église a théologiquement développé, en fonction de ces passages du Livre de la Genèse et de certaines épîtres de saint Paul, diverses doctrines liées au dogme du péché originel.
Le christianisme a très tôt assimilé la Croix du Christ avec l'Arbre de vie, car, comme lui, elle redonne la vie, cette fois éternelle, à l'humanité déchue, blessée par le péché originel vécu par Adam et Ève. L'Arbre de vie, par ailleurs, dans la tradition juive, est parfois rattaché à la menorah du Temple de Jérusalem.
la Sainte-Chapelle du château de Vincennes abrite une installation inédite de Joana Vasconcelos. L'artiste portugaise a réalisé un laurier de 13 mètres de haut composé de 110 000 feuilles tissées à la main qui apporte une touche féerique au monument gothique.
La forêt vient-elle de reprendre ses droits au château de Vincennes ? Dès aujourd’hui, un Arbre de vie s’enracine dans la Sainte-Chapelle. Joana Vasconcelos a été invitée par le Centre des Monuments nationaux (CMN) à installer son œuvre monumentale inédite, dans le cadre de la saison croisée France-Portugal 2022, portée par l’Institut Français. Repoussée à deux reprises, l’installation spectaculaire vient d’ouvrir ses portes. Alliant textile et ingénierie, ce laurier de 13 mètres de haut aux 110 000 feuilles tissées à la main et aux lumières LED apporte de la fantaisie dans le monument au style gothique flamboyant et invite le visiteur à découvrir ses minutieux détails pour un moment de paix et d’introspection, jusqu’au 3 septembre.
This pendant is decorated with repoussé and with a beaded moulding border.
Photographed at the Walters Art Museum, Baltimore, Maryland.
SANTONG DE BASTIDOR of the INMACULADA CONCEPCION
Very fine white ivory head and hands mounted on original wooden bastidor.
Repousse and ysot silver crown and silver aureola
wooden base
Height from tip of halo to base :37 inches
Height of Ivory head ; 11 CM
MID TO LATE 19TH CENTURY
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.
1.75" tall. Basically, I made mirror-image repousse wrens and soldered them together. Not stamped, no molds. Much, much harder than I thought it would be!
Although the museum delicately describes this as Herakles attempting to abduct the nymph Auge, it is very much a scene of rape. It depicts the encounter of Herakles with the princess Auge during the nighttime celebrations of the goddess Athena Alea at Tegea. According to one version of the myth, the drunken hero (he does not appear to be depicted as drunk in this relief) did not recognize the goddess's priestess, sworn to celibacy, and raped her. From this union, Telephos, the ancestor of the Pergamene kings, was born. You can see Herakles standing forward grasping Auge's arm, and the young woman attempting to get free, her dress torn asunder.
Mirror were usually owned by women, but may have been gifts from their male lovers. Many of the mirrors dating to the 4th century BCE show scenes of abduction and male dominance: the subjects reflect the subordinate place women held in society.
Greek, Hellenistic, ca. 330-300 BCE, from Corinth. Bronze.
British Museum, London (1892,0719.4)
Kupfertreibarbeit auf einer Holzschatulle mit eingelassenem grünen Stein.
Antik, ca 1910,
L36 B12,5 H7,5 cm
Jeweled covers of the Lindau Gospels, front cover (Court School of Charles the Bald, Abbey of St. Gall), c. 880; back cover (Salzburg or vicinity), 750-800, 350 x 275 mm (Morgan Library)
Jeweled covers of the Lindau Gospels, front cover (Court School of Charles the Bald, Abbey of St. Gall), c. 880; back cover (Salzburg or vicinity), 750-800, 350 x 275 mm (Morgan Library)
Bien sûr que certains vont être déçus par les couleurs pales de ce jet de phare lancé par la tour Eiffel... Et j'en suis entièrement responsable !
Le scann rendant une image plus sombre faisant évidemment ressortir la lumière projetée dans un ciel noirâtre...
Oui, mais de plus le début j'essaye justement de rendre ce que je voie avec un stéréoscope : un ciel bleu lavasse, légèrement plus dense à gauche.
Je me suis battu pour l'avoir!!
Encore un mystère de plus pour moi :
Ce jet blanchâtre où a été appliqué de la cire ?
Dans tous les cas un produit gras qui repousse la peinture aqueuse, on peut voir un léger filet de rétraction de la couleur.
Un passage de « crayon lithographique existant ? » gras sur le fin papier côté verso et non au recto avec les autres couleurs rendant celui-ci transparent !
De même que les deux touches rouges au milieu de la tour, rende une touche très claire en visualisation normale.
Exposition de 1889, car on ne distingue pas le monumental globe terrestre de l'expo 1900....
J'oubliais l'outil de de perçage, du beau travail!!!
Quant à la stéréoscopie... Oubliez à cette distance de prise de vue !
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1889 Confirmé
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Et si quelqu'un trouve un code pour flick Peppin anaglyphes, qu'il n'hésite pas à me le communiquer c'est le mien !
Of course some will be disappointed by the pale colors of this headlight jet launched by the Eiffel Tower... And I am entirely responsible!
The scann making a darker image obviously bringing out the light projected in a dark sky...
Yes, but also the beginning I try to make what I see with a stereoscope: a lavender blue sky, slightly denser on the left.
I fought for it!
One more mystery for me:
That whitish spray where wax was applied?
In any case, a fatty product that repels aqueous paint, we can see a slight net of retraction of the color.A passage of «existing lithographic pencil?» bold on the thin paper on the back and not on the front with the other colors making it transparent!
Just like the two red keys in the middle of the tower, make a key very clear in normal visualization.
Exhibition of 1889, because one does not distinguish the monumental globe of the exhibition 1900...
I forgot the piercing tool, great work!!!
As for stereoscopy... Forget about this shooting distance!
And if anyone finds a code for anaglyph Peppin flick, let him not hesitate to tell me it’s mine!
Gold collar with repousse bands on collar and incised concentric circles on disks. Irish, Late Bronze Age, 800 BC - 700 BC. From County Clare. National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier
Gold pendant with a head of Medusa worked in repoussé. Her hair is wild, she has wings emerging from her temples (symbolizing Pegasus, who will emerge from her headless body), and two snakes entwined around her neck.
The image of Medusa was apotropaic - protecting whomever wore it from the evil eye.
Roman, 2nd century CE.
Diameter: 5.08 cm (2 in.)
British Museum, London (1958,0722.9)