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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
VH-URL, AEROTEK PITTS S-2A (2105), Sky Thrills, 27 February 2015 - Avalon
Australian International Airshow, Heroes Of The Sky, Avalon, Melbourne, 24 February to 01 March 2015
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The Asante kingdom (an Akan state in present-day Ghana) primarily derived its wealth and power from its massive gold resources. Since at least 1600, small weights in brass and bronze were used to weigh gold dust and nuggets, which were the local form of currency. The rounded, worn-down edges of this weight suggest that it was used frequently. The royal court had the most elaborate store of weights, while commoners often had about a dozen. Their imagery falls into two broad categories: geometric and representational. The latter often refers to proverbs, which used judiciously, marked a wise person.
Africa, West Africa, Ghana, Akan-style artist
Copper alloy
Overall: 2.4 x 1.4 x 1.2 cm (15/16 x 9/16 x 1/2 in.)
Did you know...
Geometric forms were the earliest shapes used for gold weights.
Gift of Mr. and Mrs. Robert M. Hornung
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 lidded beaker, or cup, is actually a timepiece. More precisely, it is an elaborate and rare type of sundial that is quite accurate. Time is measured by the shadow of the tip of the gnomon (the vertical rod inside the cup) indicating the hours along the spiraling lines engraved around the side wall. This tells two versions of the time, according to different systems. Arabic numbers mark lines indicating "German" hours, which are like ours: 24 of the same length making up one day. Roman numerals mark the "planet" hours: within one day, the period of daylight is divided into 12 hours (which change in length with the seasons). At the time this timepiece was made, the older planet-hour system was rapidly being replaced, given a new emphasis on the mechanization of the clock with its hours of equal length. The system of vertical lines and points marked by the signs of the zodicac- such as the crab for Cancer- indicates the date. As well as telling the time, there is a scale between the two types of numbers that established the height of the sun. Finally, a chamber under the base once housed a compass, making this a multipurpose scientific instrument.
With its engraved decoration and reverse painted glass insets- with the days of the week represented by the seven planetary gods, based on woodcuts by the German master Virgil Solis- this is a splendid example of Nuremberg goldsmith work. Indeed, the city's coat of arms, featuring the Habsburg double-headed eagle, is on the cap to the chamber under the base (at left). The beaker was probably made as an official present from the city. The initial recipient may have been "Francis of Padua," identified in the inscription on the underside of the cover as a physician working in the Italian city of Forli, but who is otherwise unknown.
6 7/16 in. (16.3 cm)
medium: gilded brass, amelierung reverse-painted glass, colored resins
Henry Walters, Baltimore, 1908, by purchase, Walters Art Museum, 1931, by bequest.
Even though magazines are still relevant in our culture, you can not flip through a page without seeing at least one internet address referring to electronic publishing of some sort. Travel + Leisure Magazine, October 2009 Edition
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1 13/16 x 1 3/8 in. (4.6 x 3.5 cm)
medium: Enamel on copper, brass
Metropolitan Museum of Art, New York, NY X.139.3
Museum Accession
Java, Majapahit Period (1294-1478)
terracotta
Overall: 8.6 x 8 cm (3 3/8 x 3 1/8 in.)
Gift of William H. Wolff, Inc.
christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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
http//plus.google.com/106737217008195886143
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youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
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
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
"The man who here deliberates is lost: i.e., loses his shot;- there is not much use in running the Elk without stratagem is used, either in heading them off, forcing them into the river, or waiting at some point hidden, and shooting them as they pass. Their speed outstrips that of the horse. When Buffalo are scarce, these are a desirable acquisition to the prairie larder, more from their weight than excellence of food. The meat is inferior to either Buffalo, Bear, Mountain Sheep, or Deer. The Indians manufacture a beautiful buckskin from their hides, very soft and strong, with which they make leggings, giving it a rich tint by a peculiar process of smoking;- they form it also sacks to carry their pemmican and jerked meat, and from the horns they make their most efficient bows. The scene represented in the sketch is near a bluff in the vicinity of the upper waters of the Nebraska River. The herds of Elk rarely number more than 4 or 500." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 8 13/16 x W: 12 5/16 in. (22.4 x 31.3 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.