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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
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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
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.
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Gelibolu Azaplar Namazgahı
Fotoğrafların Orjinal boyutlarının temini ve kullanımı için Sinan Doğan ile iletişim kurunuz...
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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
The lover of the unfaithful wife sent a female messenger to arrange for their rendezvous. In a false display of horror, the wily adulteress blackened the face of the messenger as though to disgrace her and threw her out of the house, ordering her to be dumped by the side of a canal. That act, however, was a coded message to her lover to meet at the dark of night at that same location. The Indian artist Shravana added the pink brick wall to lend a sense of depth and dimensionality to the scene.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 10.5 x 10 cm (4 1/8 x 3 15/16 in.)
Did you know...
The striped dome and yellow bricks are vestiges of an earlier style of painting.
Gift of Mrs. A. Dean Perry
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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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.
At right, the merchant lies drunk while the vizier’s son receives the parrot from the merchant’s wife, with whom he is having an affair. In the upper register, a skilled carpenter carves an exact replica of the parrot that the vizier’s son will later pass to the merchant’s wife.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Painting only: 9.8 x 10.2 cm (3 7/8 x 4 in.); Overall: 20.1 x 13.2 cm (7 15/16 x 5 3/16 in.)
Did you know...
The long-necked bottles are full of liquor.
Gift of Mrs. A. Dean Perry
CAPTION: URL: ift.tt/1Wzr5pa SOURCE: ift.tt/1Q8g25Z FROM: HM Harris Auto-action created by ifttt.com
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
http//www.flickr.com/photos/94503374/
//blog.xuite.net/wedding_decorations/hkblog
http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
//youtu.be/W1AXoqcKAZA //
youtu.be/VNilzfUuWwQ?t=1m49s
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