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[url=http://the-lilypad.com/store/Be-Mine-2-Dressed-Up-Digital-Scrapbook-Template.html] Be Mine 2{Dressed Up} from Fiddle-Dee-Dee Designs[/url]
[url=http://the-lilypad.com/store/Hearts-Aflutter-Digital-Scrapbook-Kit.html] Hearts Aflutter from Bella Gypsy [/url]
Morocco, Azemmur, 18th-19th century
embroidery: silk on linen tabby ground
Overall: 11.4 x 24.1 cm (4 1/2 x 9 1/2 in.)
Gift of J. H. Wade
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Common in the Indian Ocean region, wooden sandals changed meaning across place and time. This pair’s base elevates the foot as the toes grip an antelope-shaped peg (<em>msuruaki</em>). Crisp geometric sole designs suggest they were rarely worn. East African elites and merchants once had exclusive rights to wooden shoes, wearing elaborate ones only for portraits. Formerly enslaved people living along the coast wore simpler ones from the 1840s onward, adopting elite footwear to assert their liberation. However, slave traders like the Zanzibari “Tippu Tip” (c. 1832–1905) likely brought <em>mitalawanda </em>to Central Africa; stylistic elements of this pair hail from that region.
Africa, Central Africa, Democratic Republic of Congo, unidentified carver
Wood and glass beads
Overall: 12.5 x 4.5 cm (4 15/16 x 1 3/4 in.)
Did you know...
This distinctive footwear traveled from Southeast Asia and the Middle East to Africa, first to the Swahili Coast and then further inland to parts of Central Africa. The deity Krishna wears similar shoes (<em>paduka</em>) in an eighteenth-century Indian miniature painting (2003.344).
Educational Purchase Fund
Egypt, Byzantine period
tabby weave, inwoven tapestry ornament; wool and linen
Overall: 39.4 x 30.5 cm (15 1/2 x 12 in.)
Gift of the John Huntington Art and Polytechnic Trust
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
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By the end of the 1400s, Venice had emerged as the major printing center in Europe, where books were printed in various languages to be shipped around the world. The city also became the great emporium for prints, and the woodcut developed beyond its humble origins as a popular art for devotional imagery, playing cards, and later for book illustration. <em>View of Venice</em> epitomizes this new ambitious scope for the woodcut, and is a landmark in the history of printmaking. This monumental print can be compared in scale only to a mural decoration and presumably served as a less expensive surrogate for paintings. The six sheets that make up the design would have been pasted either onto a canvas or the wall itself, resulting in the survival of only 12 impressions of the original edition like this one, and only three in America. The goal of the print was to depict Venice as seen from above. No single vantage point would have been sufficient, so Jacopo de' Barbari and a team of surveyors climbed various towers and tall buildings to record small sections of the city. These individual views were combined to form the map which follows a single, though inconsistent, system of perspective. Unprecedented for its exactness of detail and difficulty of execution, <em>View of Venice</em> represents the first attempt to render the image of a city according to the laws of geometry. The view also highlights the seafaring trade activities of Venice, depicting Mercury, god of commerce, presiding over the city, while Neptune, god of the seas, keeps watch over the entrance to the city's Grand Canal.
Italy, early 16th Century
woodcut from six blocks on six sheets of paper
Overall: 132.7 x 277.5 cm (52 1/4 x 109 1/4 in.)
Did you know...
Before the conveniences of airplanes, photography, or even a hot air balloon this monumental bird's-eye view map of Venice made in 1500 documents every building, canal, alleyway, and square in the city.
Purchase from the J. H. Wade Fund
Pottier and Stymus Manufacturing Company
active ca. 1858–1918/19
37 1/8 x 18 x 18 in. (94.3 x 45.7 x 45.7 cm)
medium: Walnut, mahogany, rosewood, cedar
Metropolitan Museum of Art, New York, NY 1983.68 1983
Purchase, Charlotte Pickman-Gertz Gift, 1983
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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Bernard Lens III was the most renowned member of an artist dynasty. His namesake father was a printmaker, his grandfather a painter, and two of his own sons became artists. Lens III was a critical figure in miniature painting as the art form transitioned away from painting on vellum. During the first decade of the eighteenth century, he established ivory as the primary miniature support in Britain, probably having seen the pioneering work of Rosalba Carriera (1675–1757) brought to England from Venice during the flowering of the Grand Tour. The earliest known miniatures by Lens were <br>painted on vellum around 1707, with examples on ivory appearing shortly thereafter. Lens spent his career in London, Bristol, and Bath while also traveling to the country estates of his influential patrons. He was painter to kings George I and George II, as well as drawing instructor to princesses Mary and Louise, the Duke of Cumberland, and Horace Walpole (1717–1797).<br>The sitter, Samuel Butler, turns slightly to the left and has brown eyes. A small portion of his dull red coat is visible, <br>and he wears a white lace cravat twisted around his neck in a loose knot—an essential element of a gentleman’s dress that was fashionable between the 1670s and 1690s and unlike the broad lace or linen collars that dominated in the early and mid-seventeenth century. A long, brown, curled wig falls past his shoulders, and one comma-shaped curl is arranged at the center of his forehead. Butler’s voluminous wig occupies half of the painted surface. During the 1660s gentlemen <br>regularly wore wigs, and while they offered a practical solution to such predicaments as hair loss, graying, and lice, wigs were subject to the vicissitudes of fashion. The wig style seen here is that of the late seventeenth century. Around 1680 it became the norm to part the long wig at the center, which by 1700 resulted in two pronounced tufts on either side, a style not yet exhibited in this portrait.<br>Butler was a poet and satirist popular at the court of King Charles II (reigned 1660–1685). He is primarily remembered as the author of Hudibras, a mock-heroic epic poem satirizing Puritanism written during the English civil war and published between 1663 and 1678.
England, early 18th century
watercolor on ivory in a period metal frame
Framed: 4.5 x 3.7 cm (1 3/4 x 1 7/16 in.); Sight: 4.5 x 3.5 cm (1 3/4 x 1 3/8 in.)
Did you know...
Lens often signed his work in monogram; this gold signature is well preserved on this example.
The Edward B. Greene Collection
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.
This scarab has a bottom design that displays King Amenhotep seated on his throne. He is dressed in a long pleated kilt, wears the so-called "Blue crown" with Uraeus-serpent and crown sash. The king holds with his left hand the crook in front of his chest, and with his right an ankh-sign (meaning "life"). The block throne has a small back. In front of him is a column with a left reading inscription, containing his throne name and title, and behind him the hieroglyphs for "protection" and "life." The layout is well organized, but it is notable that the royal figure does not fill the whole space, and that the Uraeus on the forehead of the king is unusually large. The highest point of the scarab's back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) have deeply incised, fine borderlines, single separation lines, V-shaped marks for the humeral callosities (shoulder thickenings), and small side-depressions. The partition lines between pronotum and elytron meet V-shaped. The rectangular head is flanked by triangular eyes. The trapezoidal side plates have curved outer edges and borderlines, and the clypeus (front plate) has four frontal serrations and two central base notches. The raised, slender extremities have natural form; the background between the legs is deeply hollowed out. The low oval base is symmetrical.
The scarab is longitudinally pierced, was originally mounted or threaded, and functioned as an amulet. It secures the existence ("life"), protection, divinity (title: "Perfect god"), and royal authority (cartouche, seated king with scepter) for the king, and provides a private owner with his patronage and protection.
Egyptian
H: 3/4 x W: 1 5/16 x L: 1 7/8 in. (1.9 x 3.3 x 4.7 cm)
medium: steatite with green glaze and residue of white underglaze
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV-Amenophis III (1397-1350 BC)
Walters Art Museum, 1931, by bequest.
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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. At the time Bonvin was working several of Chardin's paintings could be found among the new acquisitions at the Louvre Museum. Bonvin might have seen his work there or in reproduction.
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 × W: 7 5/16 in. (24.4 × 18.6 cm)
Framed H: 21 1/4 × W: 16 1/4 × D: 1 5/16 in. (53.98 × 41.28 × 3.33 cm)
medium: watercolor with gum heightening, iron gall ink and pen, over graphite underdrawing on slightly textured, moderately-thick, beige wove paper
Walters Art Museum, 1931, by bequest.
[1] possibly one of seven purchased by Lucas in 1864 (see Randall, Diaries of George A. Lucas, vol. 2, p. 172 and p. 174).
Pendant crosses show the inventiveness of Ethiopian metalworkers in embellishing the simple form of the cross with a rich variety of designs. Worn around the neck by the faithful to ward off evil, these small crosses could be made of braided leather, carved wood, or cast metal.
Christian Highland Ethiopian
H: 1 15/16 x W: 1 13/16 x D: 5/16 in. (5 x 4.6 x 0.9 cm)
medium: cast, stamped, and engraved silver alloy
culture: Christian Highland Ethiopian
Walters Art Museum, 1997, by gift.
This painting, acquired by the Cleveland Museum of Art in 1949, as a work by Corot, proved to be a copy when the signed original reappeared at a public auction in New York in 1981. Although the original, <em>Jeune Femme Pensive</em> or <em>La Méditation</em>, is not in the Corot catalogue raisonné compiled by his friend Alfred Robaut, that painting does have an unquestionable origin. According to one source, Corot painted the original version in Paris in 1866–68 and allowed his pupil, Eugène Lavieille, to make a copy with permission.
France, 19th century
oil on fabric
Unframed: 59.4 x 42.9 cm (23 3/8 x 16 7/8 in.)
Did you know...
Scholars speculate that Camille Corot's model for this painting was Emma Dobigny, the frail young girl who posed for the two versions of Pierre Puvis de Chavannes's painting <em>Hope</em> of 1872 (Musée du Louvre, Paris; Walters Art Gallery, Baltimore).<br><br>This painting, acquired by the Cleveland Museum of Art in 1949, as a work by Corot, proved to be a copy when the signed original reappeared at a public auction in New York in 1981.
Gift of the Hanna Fund
網誌一覽Background背景stage-design婚嫁場所WEDDING-decoration@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
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