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Vincent van Gogh painted this autumnal landscape while living at an asylum near Saint-Rémy in southern France where he was treated for severe depression. Although initially restricted to painting in his room, the artist was vigorously prolific when his physician allowed him to resume working outdoors. This painting reveals the full power of Van Gogh’s mature style. Trees twist and lean against a darkening sky, while the intense colors applied with thick brushstrokes suggest his emotional response to the windswept landscape.
Netherlands
oil on fabric
Framed: 81 x 66.7 x 7.3 cm (31 7/8 x 26 1/4 x 2 7/8 in.); Unframed: 61.6 x 45.7 cm (24 1/4 x 18 in.)
Did you know...
During his Saint-Rémy period, Van Gogh painted 150 canvases and some 100 drawings. He painted nature as he saw it without enhancement and felt that painting would help cure him of his illness.
Bequest of Leonard C. Hanna, Jr.
Beautiful artwork at the Diwali celebration at Yahoo. I did not make it early enough to the party. Did they have henna station this year? Hopefully there will be some at YEP~
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Byzantine
H with loop: 2 3/8 x W: 1 1/4 x D: 1/2 in. (6 x 3.2 x 1.3 cm)
H without loop: 2 1/8 x W: 1 1/4 x D: 1/2 in. (5.4 x 3.2 x 1.3 cm)
medium: bloodstone
culture: Byzantine
Walters Art Museum, 1931, by bequest.
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This frontal satyr face, easily recognized by its snub nose and equine ears, served numerous purposes. As an antefix, it capped the open end of a roof tile, preventing wind, water, and pests from entering the building below. With its naturalistic mold-made features, enhanced with pigment and perhaps additional stamped and carved details, the antefix would also have provided striking visual ornament, especially when seen in long rows high above.
Greek/South Italian, Taranto
terracotta
Overall: 25 cm (9 13/16 in.)
Did you know...
Despite the connections between satyrs and Dionysos, not all satyr-head antefixes belonged to Dionysian buildings.
The Charles W. Harkness Endowment Fund
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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Peter Carl Fabergé became the crown jeweler to the imperial court of Russia after he produced the very first Easter egg for Tsar Alexander III to give to his wife, Empress Marie Feodorovna. Fabergé created his celebrated Easter eggs, symbols of rebirth and renewal, as gifts for the Russian imperial family every year until he had to leave the country in 1919 after the Russian Revolution. Made of gold and lapis lazui from the Ural Mountains, this egg conceals a delightful surprise within of an imperial crown and a tiny ruby or pink sapphire on a chain.
Russia, St. Petersburg
gold, enamel, lapis lazuli, pearls, diamonds, rubies
Overall: 5.9 x 4.5 cm (2 5/16 x 1 3/4 in.)
Did you know...
This egg may have been made for one of the tsar's relatives very early in the run of Fabergé's production of Easter eggs.
The India Early Minshall Collection
Elaborate oil lamps with figural attachments were common at the royal court in the ancient kingdom of Meroë. This lamp depicts a captive nude prisoner, his hands bound to his ankles. The lamp would have been suspended by a chain from the collar around the figure's neck. A Meroitic symbol, perhaps an owner's mark, is incised on the prisoner's shoulders.
Nubian
W: 4 1/8 x D: 3 9/16 x L: 10 in. (10.4 x 9 x 25.4 cm)
medium: bronze
culture: Nubian
Walters Art Museum, 1931, by bequest.
A bronze statuette of the anthropomorphic god Anubis facing a kneeling worshiper. He has the head of a jackal and the body of a human male. The piece has been cast in three sections and then joined. The eyes of Anubis are inlaid with gold and there are traces of gilding on the shoulders, wrists, ankles, neck, wig, and ears. The gilding was delicately applied to the eyes, eyebrows and muzzle, but in other areas it appears to have been applied in a more careless fashion. The piece is well preserved in general but there is a break on the lower back corner of the base and there is some green and bright blue corrosion on the lower side of the base. A hieroglyphic inscription runs around the main base, the base of the Anubis figure and along the back pillar of the worshiper, identifying the dedicant as one Wdja-Hor-resnet, son of Ankh-pa-khered, who is asking for the blessings of the god Anubis.
The figure of Anubis is in a striding position with his proper left leg advanced. His proper right arm hangs at his side and the right hand is clenched into a fist with the thumb protruding. The proper left arm is raised and bent at the elbow and there is a drilled hole in the hand for the insertion of an object. Earlier photographs of this piece in Darresy's "Statues de Divinités," show that the missing object was a "was" scepter. He wears a tripartite wig, "shendyt" kilt with deep pleats and a striated belt. A broad collar, armlets and bracelets are incised and gilded. Anklets are suggested by the gilding around the ankles but they are not incised. The musculature of the limbs and the torso is clearly defined. The ears of the god are large and the inner detailing has been carefully modeled. The muzzle comes to a delicate point, accentuating the skillfully modeled eyes, sweeping brows, nose and mouth. There are two cobras at the feet of the deity facing the worshipper. The proper right cobra wears the Red Crown of Lower Egypt and the left cobra wears the White Crown of Upper Egypt. The head of the left cobra is raised slightly higher than that of the right.
A worshipper kneels before the god with his back against an inscribed pillar which is pyramidal at the top. He kneels with both knees down on a flat rectangular base, which is attached to the larger main base below. He extends his hands to the god palms down. He wears a "shendyt" kilt, but the pleats are not carved with the same precision that is seen on the kilt of the god. The bent knees are squared off unnaturally and the legs blend together below the kilt. He has an inscribed broad collar. He also wears a skull cap, the front line of which is clearly marked across his brow. The face is round with full cheeks and no definition of the chin. The ears are large and set high. The eyes are natural and do not have cosmetic brows. The nose is straight and the mouth is small with slightly pursed lips. The overall surface of the worshipper is pitted whereas the figure of Anubis has a high polish.
Egyptian
H: 8 3/16 x W: 5 11/16 x D: 2 1/16 in. (20.8 x 14.4 x 5.3 cm)
medium: bronze with gilt, gold inlay
culture: Egyptian
dynasty: 25th-26th Dynasty
Walters Art Museum, 1931, by bequest.
Switzerland
gold and enamel
Overall: 2.1 x 9.6 x 6.4 cm (13/16 x 3 3/4 x 2 1/2 in.)
Gift of Mr. and Mrs. J. H. Wade
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 9 5/8 x W: 7 5/16 in. (24.5 x 18.5 cm)
medium: watercolor with gum heightening and white heightening, iron gall ink and pen, on slightly textured, moderately-thick, cream laid paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163).
Although it is impossible to say if it was always part of the artist’s process to execute a preparatory sketch prior to painting each miniature, we do know that John Smart retained many hundreds of these sketches. A group of preparatory sketches—of which this portrait is one—descended through the Smirke family after Smart’s daughter Sarah gave a sketchbook containing preparatory portrait studies to her friend Mary Smirke, sister of the celebrated Victorian architect Sydney Smirke. This book was probably broken up around 1877 when it was divided between Sydney’s daughters Mary Jemmett and Mrs. Lange, whose portions were both sold at auction in 1928.<br>G. C. Williamson was the first to suggest that Smart’s sketches were well known and that they were preparatory studies for the painted miniatures. Williamson listed the names of sitters from the sketches known to him at the time, and they include Lady Oglander. This portrait was assigned the historically colorful but fictitious title of “Duchess of Bourbon” at some point after memory of its true identity had been lost. Giving illustrious titles to portraits of unknown sitters was a popular strategy adopted by dealers during the nineteenth and twentieth centuries, often applied to miniature portraits and, in particular, to Smart’s sketches of women. However, when the paper backing was removed from this miniature, the name Lady Oglander was discovered written twice in graphite on the back. The lower inscription seems to have been reinforced or written later and is probably not in the artist’s hand. <br>Compared to his contemporaries George Engleheart (1752–1829) and Andrew Plimer (1763–1837), whose female sitters were often painted in similar simple white gowns, Smart often lavished more attention on the costumes in his portraits of women, whose dresses incorporated colored silks, printed fabrics, and luxury trimmings like lace and fur, as seen here. The sitter’s head and shoulders face right, and her light hair is dressed high, with flat curls at the back of her head. She has gray eyes and wears a lavender surcoat trimmed with ermine, over a turquoise blue, low-necked dress and white underslip bordered with lace; the ermine trim confirms that the sitter was a titled lady. Smart placed her inside a faintly suggested oval, and the background is unpainted. <br>Sukey, Lady Oglander (née Serle, d. 1805), married Sir William Oglander, 5th Baronet of Nunwell (1733–1806), in 1765. She was the only daughter of Peter Serle of Testwood, Hants, and delighted the Oglander family by bringing £10,000 to the marriage. Sukey had eleven children with William, eight of whom survived childhood. The Oglanders were a prominent and well-loved family on the Isle of Wight, their presence on the island first dating from the time of <br>William the Conqueror and lasting until the title expired in 1874 when the last Oglander Baronet of Nunwell died. <br>This preparatory sketch somewhat resembles a miniature on ivory of the same size that sold at Christie’s, London, in 2000. The sitter’s name is unknown, but she wears a nearly identical green wrap gown and underslip and a lavender surcoat, though it is trimmed with brown fur rather than ermine. Her coiffure is similar to that in the preparatory sketch as well, though in the ivory her hair is ornamented with pearls. The facial features, however, differ, with the sketch representing an older woman having somewhat coarser features. While the portrait may have been idealized in the finished ivory version, it is also possible that the sketch was employed primarily for the costume and depicts another sitter entirely. <br>Daphne Foskett lists among Smart’s work portraits of a Dr. John Oglander and a Lady and Miss Oglander. A preparatory sketch by Smart of a Mr. Oglander sold at Christie’s, London, on June 10, 2010. Another preparatory sketch titled Portrait of John Oglander, Warden of New College, Oxford, was sold at Bonhams, London, on October 30, 2001. These sketches are approximately the same size as Cleveland’s Lady Oglander and may have been commissions related by date or patron. The sale of Smart drawings inherited by W. H. Bose and sold at Christie’s, London, in 1937 included a “Head of Miss Oglander,” “sister to Sir John Oglander of the Isle of Wight,” but this lot was not illustrated, and its relationship to the sketch discussed here is unknown. John Oglander, Warden of New College, Oxford, was the brother-in-law of Sukey, Lady Oglander, and Miss Oglander was probably her sister-in-law Susannah Oglander (d. 1816).
England, 18th century
graphite and wash on laid paper
Framed: 7.7 x 6.5 cm (3 1/16 x 2 9/16 in.); Unframed: 5.4 x 3.8 cm (2 1/8 x 1 1/2 in.)
Did you know...
Sketches helped John Smart work out the particulars of a portrait before commencing the miniature on ivory, and they were useful in the event that a duplicate might later be required.
The Edward B. Greene Collection
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CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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