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In creating luxurious accessories for a desk or tabletop, Fabergé often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Fabergé and his craftsmen brought them to life, turning milky agate into this turtle bell push or black jasper into sleeping puppies. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.
Russia, St. Petersburg
agate, gold, silver, diamonds, rubies
Overall: 2.6 x 7.7 x 6.1 cm (1 x 3 1/16 x 2 3/8 in.)
Did you know...
To summon the butler, a quick push on the turtle's head would ring the bell downstairs.
The India Early Minshall Collection
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
Many celadon ceramics, such as these two miniature pots, have been repaired with gold lacquer. Termed <em>kintsugi </em>(literally meaning “gold joinery”) in Japanese, this restoration method highlights broken parts with glittering gold mixed with lacquer. Initiated in 15th-century Japan, the technique follows a popular aesthetic concept called <em>wabi-sabi, </em>which finds beauty in imperfect things. Goryeo celadons were considered rare treasures among early 20th-century Japanese collectors; thus, their broken condition is brilliantly highlighted in gold lacquer, as seen here in the repaired spouts, handle, and lid.
Korea, Goryeo dynasty (918–1392)
celadon ware
Diameter: 9 cm (3 9/16 in.); Overall: 9.6 cm (3 3/4 in.)
Did you know...
This miniature wine pot was buried in a tomb for the soul of the deceased.
Gift of John L. Severance
Konstantin Yegorovich Makovskii (1839-1915), a popular artist and member of the Peredvizhniki, or Wanderers, is best known for historical genre scenes. Depicted in glossy enamel is The Bride's Attire (or Dressing the Bride) (1889). In a 17th-century interior, some lavishly attired women and a solitary youth have assembled to watch the bride as she is being dressed. A young girl kneels at the bride's feet a young girl and behind, an elder woman combs the subject's hair. To convey a sense of verisimilitude, the artist has included such details as a jewel box and a teremok-shaped casket in walrus ivory and bone of the type associated with the town of Kholmogory in northern Russia. An icon is also discernible on the wall in the background.
An unusual feature of this casket is the Viking-style interlace in turquoise over black enamel on the lid's sloping deck. These patterns bear striking resemblance to those in an illustration of the Aberlemno Cross in Inigo Jones's The Grammar of Ornament (1856), a resource that would most likely have been available in Moscow. Another possible source for the interlace could have been found in late 17th-century Russian manuscripts. The sides and ends of the box have vignettes of brightly colored flowers and buds over a cream ground. These, in turn, are framed by patterns of interlace in blue, olive, violet, and black. By this time, Rückert increasingly employed black enamel in his works.
The lid of the box opens to reveal a turquoise, en plein counter enamel over a ground engraved with flowers and buds.
The box is equipped with handles at both ends and with bracket feet.
H: 2 1/2 x W with handles: 5 7/16 x D: 3 7/8 in. (6.3 x 13.8 x 9.9 cm)
medium: silver gilding, painted filigree and en plein enamel, en plein counter enamel
by bequest to Walters Art Museum, 2010.
This carefully carved plump female figure has short limbs, a large head with short curly hair, and large breasts. A deep hole marks the navel. The wide pubic triangle is marked by holes. There is a depression on top of the buttocks. On the head is a large lotus blossom. A ball surrounded by ridges has been inserted into the hollow lotus to form the calyx of the flower.
Egyptian
H: 2 7/16 x W: 9/16 x D: 9/16 in. (6.14 x 1.44 x 1.35 cm)
medium: bone
culture: Egyptian
Walters Art Museum, 1931, by bequest.
Tuesday Tech Term
URL Mini Series: Part 3
Path:
-AKA: Location substring
-Can be directed to a web page (TechOhioState.html), or a document (e.g. .pdf)
-A URL without a path reroutes to the default file of the site (often the index, commonly known as the home page)
The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
The scarab displays a ritual scene on its bottom, which shows the standing figure of King Ramesses II in front of the god Thoth. The king wears the so-called "Blue Crown" with Uraeus-serpent and crown sash, as well as a long elaborate, pleated dress. He presents a squatting figure of the goddess Maat with his right hand, while his left hand is raised in an adoration gesture towards the god. Thoth, the god of wisdom, is depicted as a squatting baboon with the hands upon his knees, and moon disk combined with crescent above his head. Above both figures appears an inscription, containing Ramesses' royal throne name without a cartouche. Below both figures is a large mr-sign, which functions as base for both figures. The nb-sign in the lower round is not only a filler character, but also creates a balance to the inscription in the upper round. The layout of the figures and hieroglyphs is balanced, only the moon-ensemble and the sun disk are somewhat deformed and collide with the borderline. The figure of Ramesses II is very slim in comparison to the compact figure of the baboon-shaped god. The moon crescent and disk are not attached to the deity and have the same distance to the head of the god as the sun disk does to the head of the king. The pleated dress of the king and the mane of the baboon have hatch lines, the mantel of the baboon has a crossed-line pattern. The highest point of the scarab's back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) show dark blue glazed borderlines, single separation lines, and V-shaped marks for humeral callosities (shoulder thickenings). Small side-depressions are visible below the pronotum. The semicircular head is flanked by triangular eyes. The side plates are irregularly trapezoidal and have curved outer edges, and the clypeus (frontal plate) is four times serrated. The proportions of the top are well balanced. The raised extremities are slender and have natural form, with vertical hatch lines on the upper sides for the tibial teeth and pilosity (hair). The background between the legs is deeply hollowed out. The base is long-oval, and the drill-hole openings framed.
The scarab is longitudinally pierced, was originally mounted or threaded, and functioned as an amulet. The presentation of the Maat-figure by Ramesses II to Thoth is part of the ritual, in which the king states to follow and strengthen the ethical rules. This version of the motif has a second level of meaning: Thoth appears in his moon-god function, and the king, with the sun disk above his head, as representative of the sun god, father and creator of Maat (principle of justice, truth, and order). They meet to strengthen Maat in this and the other world, and the throne name of the king can be read in two directions, and interpreted as: "Strong is the Maat of Re", but also as "Strong is the Maat of Thoth". Therefore, it is likely that the scarab was made for a funeral context, either for the burial of the king himself, or for a private person, who trusted in the divine, Maat-guaranteeing power of the king.
Egyptian
H: 13/16 x W: 9/16 x D: 3/8 in. (2 x 1.5 x 0.9 cm)
medium: light beige steatite with blue glaze
culture: Egyptian
dynasty: 19th Dynasty
reign: Ramesses II (1279-1269 BC)
Walters Art Museum, 1931, by bequest.
This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert’s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book’s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium’s dense blackness in his lithographs. Based on the text’s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.
France, 19th century
lithograph
Image: 20.4 x 15.8 cm (8 1/16 x 6 1/4 in.); Sheet: 44.1 x 30.7 cm (17 3/8 x 12 1/16 in.)
Did you know...
Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.
Gift of The Print Club of Cleveland
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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This carefully carved plump female figure has short limbs, a large head with short curly hair, and large breasts. A deep hole marks the navel. The wide pubic triangle is marked by holes. There is a depression on top of the buttocks. On the head is a large lotus blossom. A ball surrounded by ridges has been inserted into the hollow lotus to form the calyx of the flower.
Egyptian
H: 2 7/16 x W: 9/16 x D: 9/16 in. (6.14 x 1.44 x 1.35 cm)
medium: bone
culture: Egyptian
Walters Art Museum, 1931, by bequest.
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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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www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
Probably intended for private devotion in a domestic interior, this painting depicts a popular Renaissance theme known as a “sacra conversazione,” or sacred conversation, meaning the holy figures are placed in a unified space allowing them to interact with one another. The Madonna and Child are seated between Saint Francis of Assisi (1181-1226) at the left and Saint Jerome (ca. 347-420) at the right. Francis draws the viewer into the “conversation” by making eye contact and gesturing toward his “stigmata" (the wounds of Christ), which he miraculously received on his hands, feet, and abdomen during a vision in 1224. Jerome, famous during the Renaissance as a model example of piety and learning, is shown in his traditional guise as an old, bearded man in a red robe. He also carries a book, probably the Bible, which he famously translated into Latin. The Christ Child holds a goldfinch, foreshadowing the Crucifixion (popular legend claims the bird was present at the Crucifixion and became stained with Christ’s blood, hence the red spot in the bird’s beak).
The painting’s format, with the figures at half-length in a horizontal picture field, was most common in Venice and its surroundings in the early to mid-16th century. A fragmentary inscription on the parapet in front of the figures bears the date 1520 as well as the letters “[S]ANTA CRUCE.” The inscription may be the remains of a signature by a member of the Santacroce family of artists, active around Venice for much of the 1500s. It is difficult to assign the painting to a specific member of the family since the style of the figures and the unusual motif of Francis pulling a square piece of cloth from his robe to reveal his side wound are inspired by the work of Filippo Mazzola (ca. 1460-1505), active mainly in Parma but well-known in Venice.
For works by two members of the Santacroce family at the Walters, see 37.261, 37.569, and 37.577. For a painting by Filippo Mazzola at the Walters, see 37.1056.
Painted surface H: 20 7/8 x W: 27 15/16 x D: 3/4 in. (53 x 71 x 1.9 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
Degas produced numerous wax sculptures during his lifetime that were cast in bronze shortly after his death. This late work continues his fascination with dancers and the physical sensation of the human body in motion. Marks made by artist's fingers are visible in the bronze surface.
France, 19th century
bronze
Overall: 46.4 x 21.6 x 20.3 cm (18 1/4 x 8 1/2 x 8 in.)
Did you know...
Degas often frequented the Garnier opera house in Paris to observe the dancers during both onstage performances and backstage rehearsals. Paying careful attention to their movements and poses, he produced nearly 1,500 works depicting ballet dancers, including paintings, drawings, and sculptures.
Hinman B. Hurlbut Collection
Your heart is a muscle that pumps blood around the body. For the pump to work, it needs an electrical supply
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
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
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Yeah, i absolutely luv this roxxi! she was in my dollie box, i saw her face and i was like, you need a boil wash, so i boil washed her hair and made a MV with her.