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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
Albert Bierstadt
American, Solingen 1830–1902 New York
Cover: 4 3/4 x 7 3/4 x 7/16 in. (12.1 x 19.7 x 1.1 cm)
Sheets: 4 5/8 x 7 1/2 in. (11.7 x 19.1 cm)
medium: Drawings in graphite on off-white wove paper with gilt edges, bound in a leather cover
Metropolitan Museum of Art, New York, NY 1995.379.3 1995
Bequest of Marguerite H. Rohlfs, 1995
Pierre Stephan
French, active ca. 1770–95
H. 12 3/8 in. (31.4 cm)
medium: Earthenware, basalt
Metropolitan Museum of Art, New York, NY 38.165.50 1938
Harris Brisbane Dick Fund, 1938
The dreadlocks suggest that this figure is related to the Hindu god Shiva, and the sensitive rendering of the facial features indicates that it was carved during the early phase of stone sculpture production in Thailand. A more complete sculpture of another male figure with dreadlocks and youthful features is known from Thailand and shows him seated with one knee up, supported by a yoga strap. In South India, a deity of this description is worshiped as a guardian on the outskirts of villages on the banks of ponds and reservoirs, known as Aiyanar, which means "Lord" in the Tamil language. Alternatively, this figure could be an ascetic, or follower of Shiva.
Central Thailand, Phetchabun province, possibly Si Thep
sandstone
Overall: 26.1 cm (10 1/4 in.)
Did you know...
This figure may depict a deity who protects travelers on their way.
John L. Severance Fund
Despite the chess-playing monkey’s grim end, the baby parrots continued to cavort with the fox cubs. One day the mother fox discovered that her cubs had been eaten by a panther. Blaming the parrots, she lured a hunter to their tree. The hunter climbed the tree and ensnared the mother parrot and her babies. The mother instructed her young to play dead, then pleaded with the hunter to take her alone, saying that since she knew the art of healing she would fetch a high price. Lush vegetation and a stream of water painted with a soft brush indicate a fresh new stylistic vision that represents a departure from Indian and Persian styles that came before.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20 x 14.4 cm (7 7/8 x 5 11/16 in.); Painting only: 10.6 x 10.2 cm (4 3/16 x 4 in.)
Did you know...
The pink leaves are new shoots that have not yet turned green.
Gift of Mrs. A. Dean Perry
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This dwarf-like, protective deity was very popular in ancient Egypt. Bes is represented with the nude body of a dwarf, grotesque facial features, and the ears and mane of a lion. He wears a tall feather-crown and usually rests his hands on his hips. Known from as early as the Middle Kingdom (ca. 2000 BCE), Bes was venerated as a protector of the home, family, and childbirth, and for that reason figures prominently in domestic magic and amulets. His close connection to all aspects of fertility and sexuality is demonstrated by the presence of his image in the "Birth-houses"-shrines associated with temples of the Late Period and Ptolemaic period. He also had a special relation to the goddess Hathor and performed in her retinue as a musician and dancer.
This amulet-pendant presents the god in a standing posture. The stocky figure is compact and dominated by the massive feather crown. Dark blue markings show the structure of the feathers and highlight the armlets and bracelets worn by the god. The amulet has a rectangular base and a loop on the back.
Egyptian
H: 2 1/16 x W: 15/16 x D: 5/16 in. (5.28 x 2.4 x 0.84 cm)
medium: Egyptian faience with blue and black glaze
culture: Egyptian
dynasty: early Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
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Located off the coast of Maine, Monhegan Island has long drawn artists attracted to its rugged headlands, brooding forests, and dramatic ocean vistas. Unlike most colleagues who visited during summer, Kent built a home and lived there year-round, working as a well digger, lobsterman, and carpenter from 1906–8. This boldly rendered winter scene was painted from his studio window.
America, 20th century
oil on canvas
Framed: 104.5 x 130.2 x 6.5 cm (41 1/8 x 51 1/4 x 2 9/16 in.); Unframed: 86.4 x 111.7 cm (34 x 44 in.)
Did you know...
Kent loved to paint landscapes in cold, remote areas, including Maine, Alaska, Newfoundland, and Greenland.
Hinman B. Hurlbut Collection
The Wepler, a large brasserie restaurant on Place Clichy in the Montmartre district of Paris, is composed of several rooms on different levels. Once frequented by bohemian artists like Pablo Picasso and Amedeo Modigliani, the Wepler is still in business today.
France, late 19th-early 20th Century
oil on fabric
Framed: 91.8 x 132.7 x 13 cm (36 1/8 x 52 1/4 x 5 1/8 in.); Unframed: 62.2 x 103.2 cm (24 1/2 x 40 5/8 in.)
Did you know...
Established in 1881, the Cafe Wepler is still in business. In the late 19th and early 20th centuries, it was frequented by artists and writers.
Gift of the Hanna Fund
This pricket candlestick is enameled in the combination of blue, green and white with delicate detailing in gold that is characteristic of Venetian painted enamels in the years around 1500 and can be compared with that of a large Venetian Footed Bowl in the collection (44.203). Enameling involves the application of a vitreous layer (essentially melted glass) to a support, in this case copper. As a Venetian specialty, it was a natural extension of the glass-making industry for which Venice was internationally famous.
Particularized description: At the base of the pricket is a gadrooned grease-pan. It is enameled inside in white, outside in white-and-blue and green-on-white with gilt ornament. It rests on a blue globe with green stars, which is supported by a green-enameled capital with six crockets picked out by gilding. This tops a tapering columnar stem enameled in white and decorated with a gilt diaper design enclosing fleurs-de-lys. The convex bottom of the stem has eight white gadroons on a blue ground and is attached by means of a depressed molded base, in green enamel with gilding, to a quadrangular trapezoidal plinth, the sides of which have gently undulating surfaces. The top of the plinth is white, the sides are blue and are decorated on each of three faces with a varying vase-shaped ornament from which spread two symmetrical white stems bearing running leaves and ending in scrolls. The fourth side shows a gilt wreath framing a white medallion whereon is painted in black and gold a bird holding a fleur-de-lys in its bill. The plinth rests on four brass balls, and is enameled on its inner surface in blue on white.
H: 8 11/16 in. (22 cm)
medium: painted enamel on copper
Walters Art Museum, 1931, by bequest.
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Signs that feature unnecessary quotation marks can give the wrong message. Sarcasm asside, have a safe and fun-filled Fourth of July!
Götz covers every surface in gold leaf, giving each part of the object equal importance, rather than simply framing a central picture. In this distinctively Central European approach, figural narrative is subordinate to the overall ensemble. Götz designed this object to rest on top of an altar, probably in front of a larger painted or sculpted decorative scheme. The work contains relics seen through the small windows on the perimeter. These small remains of holy figures demonstrate the persistence of a medieval Catholic tradition well into the 1700s.
Germany, Bavaria, 18th century
gilded wood, with relics in niches: gilded wood, mother-of-pearl, ebony, red silk, gold wire, seed pearls, rock crystal, pen and ink on paper
Leonard C. Hanna, Jr. Fund
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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
Www.facebook.com/florist.christy
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http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
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www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
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