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These four liturgical silver vessels—a paten and three chalices (1950.378–81)—form what is now called the Beth Misona Treasure, named for the village in northern Syria for which the objects were made. While nothing is known about the exact location and circumstances of the treasure's discovery, the people of the village of Beth Misona were, like other Christian communities in Syria and Palestine, probably forced to bury their church silver to hide it from the Persians or Arabs, who conquered their lands in the first half of the 600s. The paten, which held pieces of Eucharistic bread used during Mass, is decorated with an engraved Latin cross surrounded by a dedicatory inscription that names the paten's donor—Domnos—and its original location, the church of Saint Sergios in Beth Misona. The chalices, which contained the Eucharistic wine used during Mass, feature broad cups decorated with portrait busts of Saints Peter and Paul, Christ, and the Virgin. One chalice bears a dedicatory inscription naming its donor—Kyriakos, Domnos's son—and the priest of the church that received the pious gift—Zeno.
early Byzantium, Constantinople or Syria, Byzantine period, 6th-7th Century
silver
Overall: 17 x 14.2 cm (6 11/16 x 5 9/16 in.)
Purchase from the J. H. Wade Fund
In this watercolor, acrobats and circus jugglers emerge from a complex pattern of shapes and colors. Two jugglers share a face and torso. A member of Der Blaue Reiter group in Munich, Paul Klee believed that the elements of color and shape alone could carry connotations of emotions, moods, and subjective feelings. His method was to begin painting without a subject, only settling upon something that could be recognized after layering colored form upon colored form.
Germany, 20th century
watercolor
Sheet: 24 x 23.5 cm (9 7/16 x 9 1/4 in.); Secondary Support: 34.5 x 29.3 cm (13 9/16 x 11 9/16 in.)
Contemporary Collection of The Cleveland Museum of Art
Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna.
Fabergé's revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloché," or mechanically engraved gold, is demonstrated in the shell of the egg. So meticulously did Fabergé's workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees.
H: 5 x W: 3 9/16 in. (12.7 x 9.1 cm)
medium: gold, "en plein" enamel, silver-gilding, portrait diamonds, rock crystal, and seed pearls
Walters Art Museum, 1931, by bequest.
This small night lamp is made almost entirely of Louis Comfort Tiffany's signature Favrile glass. In the 1880s when Tiffany began collaborating with glass artists on new types of production, his aesthetic ambitions were realized in the development of Favrile glass, deliberately named to sound French, expensive, and “handmade.” Largely through Tiffany's marketing ability, Favrile glass became America’s greatest contribution to the Art Nouveau style. His works were exhibited at international expositions; galleries in major European cities, where his creations were bought by many museums; and in his store in Manhattan, known as the Tiffany Glass and Decorating Co., later Tiffany Studios. From the outset, Tiffany used Favrile glass in mosaic panels, stained glass windows, and his artistic line of table and floor lamps.
America, New York
Favrile glass
Overall: 32.4 cm (12 3/4 in.); Diameter of base: 17 cm (6 11/16 in.)
Did you know...
Mushrooms were a popular Art Nouveau motif used throughout Louis Comfort Tiffany's artistic production.
Bequest of Charles Maurer
In the process of mummification, the liver, lungs, stomach, and intestines were removed, separately embalmed, and stored in specialized jars known as canopic jars (after a sailor in Greek mythology, who died at the town of Canopus in the Nile Delta and was worshipped there in the form of a human-headed jar). Each organ was identified with one of four funerary deities collectively known as the Sons of Horus: the liver with Imsety (man's head), the lungs with Hapy (baboon's head), the stomach with Duamutef (jackal's head), and the intestines with Qebehsenuef (falcon's head). It was their duty to protect the deceased and restore to him his body parts in the hereafter.
Egypt, Late period (715–332 BCE), Dynasty 26
travertine
Diameter: 16.6 cm (6 9/16 in.); Diameter of mouth: 9 cm (3 9/16 in.); Overall: 38.8 cm (15 1/4 in.)
The Charles W. Harkness Endowment Fund
7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr
greenmarine.se (on the sticker on the boat-lifter.) A number of the docks we passed had boats of this size lifted out of the water - apparently saves on hull maintenance and cleaning, and you don't have to winter it somewhere else.
The Madonna sits upon a throne with the Christ Child standing on her knee. He is steadied by his mother, turning delicately to grasp the Virgin's robe for support. On the left is St. Francis, identified by his stigmata. On the right, St. Anthony Abbot is identified by his monk's robe and T-shaped walking stick. The brown robes of the saints, the purple of the Virgin's tunic (a shade characteristic of the artist), and the flesh tones of the figures contrast strongly against the bright blue background. In the semicircular sky behind the figures, three winged cherub heads emerge, representing a host of angels.
The inclusion of St. Francis in this altarpiece honors the saint, suggesting that the altarpiece may have been originally built into the wall of a Franciscan institution in Tuscany. Two shields bearing the Borgherini family crest appear in the lower portion of the altarpiece's border, further suggesting that the chapel for which this altarpiece was made was likely owned or endowed by the family.
Glazed terracotta is both durable and decorative and the gleaming white of this piece would have stood out in the darkness of a church. The medium was made popular by Renaissance artist Luca della Robbia and came into fashion as a substitute for expensive carved marble. A rounded arch frame embellished with fruit and flower garlands as well as egg-and-dart and cord moldings accompanied the work when it was acquired, but was later determined not to be original and removed. Buglioni's work bears the influence of the della Robbias, particularly in the simple color scheme. Buglioni likely worked in the studio of Luca's nephew, Andrea, where he would have learned the technique of glazing terracotta.
Italy, Florence, 16th century
glazed terracotta
Overall: 198.1 x 165.1 cm (78 x 65 in.)
Gift of J. H. Wade
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Vous pouvez acheter des dessins, des customs ou encore des peintures en visitant les galeries en ligne qui suivent : Artmajeur, Riseart et We need art.
You can buy drawings, customs or paintings by visiting the following online galleries: Art Sy, Artmajeur, Artsper, Boutique de Tarek et We need art.
In 1673, Bernini was commissioned by Pope Clement X to design gilded figures of the twelve apostles and the Risen Christ to crown the tabernacle of the Chapel of the Blessed Sacrament in St. Peter's Basilica. Working from Bernini's designs, Giovanni Rinaldi made the models. Girolamo Lucenti, the bronze founder, had problems casting the Risen Christ, and the initial bronze cast had a flaw across its chest. This cast, now partially repaired and in the Walters' collection, was left in a rough state. The model was recast, gilded, and installed in St. Peter's.
Christ's idealized body recalls ancient sculptures of the sun-god Apollo, praised as having a perfect physique. His striding pose is beautifully balanced while his ascent toward heaven is suggested by the deeply carved, fluttering drapery, seemingly responding to an invisible wind and creating a strong play of light and shadow. Bernini was the greatest sculptor of his age. He imbued figures of both metal and marble with an unsurpassed sense of life and motion.
Italian
H: 17 5/16 in. (44 cm)
medium: bronze
culture: Italian
Walters Art Museum, 1942, by gift.
The<em> Sat Sai</em> is a collection of poems mainly describing the beauty of women in a range of emotional states. The heroine of this poem sits against a tree that is in full flower, like her, but her lover is absent, and other girls walk by, gossiping. Not coincidentally, her dress matches the color of the blossoms, and no bees come to pollinate.
India, Himachal Pradesh, Pahari Kingdom of Garhwal or Guler
Gum tempera and gold on paper
Image: 19.3 x 14.2 cm (7 5/8 x 5 9/16 in.); Overall: 26.5 x 21.1 cm (10 7/16 x 8 5/16 in.)
Andrew R. and Martha Holden Jennings Fund
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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www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
This suite of color lithographs collected Pierre Bonnard’s observations of city life, ranging from animated street scenes to distant observations glimpsed from the artist’s Montmartre studio window. Rather than memorializing the famous monuments of Paris, Bonnard preferred to depict small neighborhood scenes populated by urbanites shopping and strolling and by vendors selling their wares. The setting for one of the prints is the second-largest public park in Paris, the Bois de Boulogne, which was a popular place for families to relax, stroll, and enjoy carriage rides around the lakes. Two prints are nocturnal scenes in which gaslight emanating from shop windows is reflected on the wet streets, creating passages of bright yellow in the otherwise dark compositions. Bonnard’s favorite subjects, such as the Parisienne—a young, fashionable, modern woman—as well as children and dogs, appear repeatedly throughout the prints in the suite.
France, 19th century
lithograph
Sheet: 40.7 x 53 cm (16 x 20 7/8 in.); Image: 31 x 46.5 cm (12 3/16 x 18 5/16 in.)
Gift of the Hanna Fund
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