View allAll Photos Tagged URL
[url=http://www.flickr.com/photos/75453791@N05/6813603531/][img]http://farm8.staticflickr.com/7143/6813603531_63ebd9f6b1_b.jpg[/img][/url]
[url=http://www.flickr.com/photos/75453791@N05/6813603531/]Vagonite/feito por mamis[/url] por [url=http://www.flickr.com/people/75453791@N05/]Titapandolfi1[/url], no Flickr
[url=https://saintsvsvikings.co/]Saints vs Vikings[/url]
[url=https://saintsvsvikings.co/]Saints vs Vikings Live[/url]
[url=https://saintsvsvikings.co/]Monday Night Football[/url]
[url=https://saintsvsvikings.co/]https://saintsvsvikings.co/[/url]
[url=https://chargersvsbroncos.co/]Chargers vs Broncos [/url]
[url=https://chargersvsbroncos.co/]Chargers vs Broncos Live[/url]
[url=https://chargersvsbroncos.co/]Monday Night Football[/url]
[url=https://chargersvsbroncos.co/]https://chargersvsbroncos.co/[/url]
This sifter, which accompanies the little basket in this tea set, is a particularly Russian component of this service meant to strain the fruit preserved in a sweet juice, called <em>varenye. </em>At Russian tea, varenye was strained and served over cakes or biscuits in a similar way that the English take jam with scones at high tea.
Russia, St. Petersburg
silver gilt, opaque cloisonné enamel
Overall: 17.5 x 5.8 cm (6 7/8 x 2 5/16 in.)
Did you know...
This jam (<em>varenye</em>) sifter is part of a larger tea service.
The India Early Minshall Collection
William Trost Richards
American, Philadelphia, Pennsylvania 1833–1905 Newport, Rhode Island
12 7/8 x 9 7/16 in. (32.7 x 24 cm)
medium: Watercolor, gouache, and graphite on light tan wove paper.
Metropolitan Museum of Art, New York, NY 67.55.140 1967
Bequest of Susan Dwight Bliss, 1966
This is the URL for more info on the public garden going in right next to the unit - it will go up to the balcony!
This mirror case focuses on a single female figure shown on both the interior and exterior of the case. Although she wears a slightly different ensemble in the painting inside the lid, the woman has the same henna tattoo on her throat. On the exterior she is mounted on horseback and wears a jacket embroidered with gems and pearls over a pair of wide-legged trousers, typical for ladies of the Qajar court. Her bold continuous eyebrow, kohl-lined eyes, and henna-dyed fingernails accord with Qajar fashion.
Iran, probably Isfahan, Qajar period (1779–1925)
Varnished lacquer and opaque watercolor over papier-mâché
Gift of Mrs. L. E. Holden
Go to Page 179 in the Internet Archive
Title: Traité de thérapeutique appliquée
Creator: Robin, Albert, 1847-1928
Creator: Royal College of Physicians of Edinburgh
Publisher: Paris : Rueff
Sponsor: Jisc and Wellcome Library
Contributor: Royal College of Physicians in Edinburgh
Date: 1898
Language: fre
Description: Cont: fasc. 1. Traitement des maladies de la nutrition / par MM. Arnozan ... [et al.] -- fasc. 2. Traitement des maladies des reins / par A. Brault ... [et al.] -- fasc. 3. Traitement des maladies des organes lymphoïdes ; Traitement des intoxications / par L. Galliard ... [et al.] -- fasc. 4. Traitement des maladies infectieuses. Première partie / par Ch. Achard ... [et al.] -- fasc. 5. Traitement des maladies infectieuses (suite et fin) ; Traitement des maladies du sang / par J. Teissier ... [et al.] -- fasc. 6. Traitement des maladies vénériennes ; Traitement des maladies causées par les agents physiques / par R. du Castel ... [et al.] -- fasc. 7-9. Traitement des maladies de l’appareil respiratoire / par L. Faisans ... [et al.] -- fasc. 10-11. Traitement des maladies de l’appareil circulatoire / par H. Huchard ... [et al.] -- fasc. 12-13. Traitement des maladies de l’appareil digestif et de ses annexes / par P. Spillmann ... [et al.] -- fasc. 14-15. Traitement des maladies du système nerveux / par A. Joffroy ... [et al.]. Spécialités. [fasc. 16-17] Traitement des maladies de la peau / par H. Hallopeau ... [et al.] -- [fasc. 18] Traitement des maladies des oreilles / par M.E. Gellé ... [et al.] -- [fasc. 19] Traitement des maladies mentales / par V. Magnan ... [et al.] -- [fasc. 20] Traitement des maladies des yeux / par Ph. Panas ... [et al.]
This material has been provided by the Royal College of Physicians of Edinburgh. The original may be consulted at the Royal College of Physicians of Edinburgh
Royal College of Physicians of Edinburgh
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
The battle depicted here between flying and land
animals is from the fairy tale “The Wren and the
Bear.” The bear insults the wren, the king of the
birds, leading to a war. Most of Arthur Rackham’s
best-known illustrations combine intricate line
<br>work with delicate coloring (see works nearby).
However, he also produced some silhouette
illustrations like this one, created for a luxury
edition of <em>Fairy Tales of the Brothers Grimm.</em> The
illustration won a gold medal at the 1906 Milan
<br>International Exhibition, where it was exhibited as
<em>The Battle between the Air and the Earth.</em>
England, early 20th Century
brush and black ink and pen and black ink, with watercolor, on paper
Sheet: 36.7 x 25.8 cm (14 7/16 x 10 3/16 in.)
Gift of Mrs. Ralph Perkins in memory of Coburn Haskell
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.
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 11/16 x W: 7 5/16 in. (24.6 x 18.6 cm)
medium: watercolor with gum heightening, iron gall ink and pen, on slightly textured, moderately-thick, cream laid paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163). This watercolor was likely hanging in Walters' Baltimore townhouse from 1885 (“The Walters Art Collection, Recent Additions – Barye, Millet, Bonnat – Bonvin’s Water Colors,” Baltimore Sun, 1 February 1886, p. 4.), described in R.B. Gruelle's catalogue of the gallery "Notes Critical and Biographical" (1895), p. 190.
The Muses were the nine daughters of Zeus and Mnemosyne (Memory) and were associated with various arts: Calliope (epic poetry), Clio (history), Euterpe (flute-playing), Terpsichore (lyric poetry and dance), Erato (lyric poetry), Melpomene (tragedy), Thalia (comedy), Polyhymnia (hymns and pantomime), and Urania (astronomy). In Greek myth and culture, the Muses were honored as beautiful goddesses who brought inspiration to artists. In the Hellenistic period, the Muses were widely depicted, and certain statue types have been thought to depict particular Muses. This seated Muse, holding her chin in a thoughtful gesture, is traditionally thought to be Urania, Muse of astronomy. Statues of the Muses also adorned the great scholarly complex in Alexandria known as the Mouseion, "Place of the Muses," which has given us the modern word "museum."
Greek
H: 25 7/8 x W: 12 3/4 x D: 8 11/16 in. (65.7 x 32.4 x 22 cm)
medium: marble
culture: Greek
Walters Art Museum, 1931, by bequest.
The four sections of this stand each terminate in a lion's head and the supporting legs end with a paw. The angular modeling of the lion's head contrasts with the delicate silver inlaid decoration.
Northern Iraq or Syria, Zengid or Ayyubid period
cast brass inlaid with silver
Overall: 14 cm (5 1/2 in.)
Dudley P. Allen Fund
The scene depicted is from a story about the bell at the temple Dôjôji. On right are two monks with prayer beads in the act of praying. At the left, the large bell of the temple is shown fallen from its tower. A jealous woman transformed into a dragon while chasing a monk she thought had promised to marry her. The monks of Dôjôji hid the monk in the bell tower. The bell fell, trapping him under it. The woman, in her dragon form, coiled her body around the bell and breathed flames on it. This killed the monk trapped inside. The story is retold in noh and kabuki plays of the same name. In the plays, a dancer comes to the temple to celebrate the installation of a new bell. She dances under the bell and when it falls on her is transformed into the dragon. A pine tree and stream are shown on the reverse.
Japanese
2 13/16 x 2 5/8 x 3/16 in. (7.13 x 6.64 x 0.5 cm)
medium: sentoku
style: Nara School
culture: Japanese
Walters Art Museum, 1931, by bequest.
This piece was designed by Louis Comfort Tiffany and executed by Tiffany & Co., the firm established in New York in 1837 by Louis Comfort Tiffany's father, Charles. On Charles's death in 1902, LCT, as he was known, became artist director of the firm. When this piece was shown at the Panama-Pacific International Exposition held in San Francisco in 1915, it was described simply as a "Gold Cup," but the patterns used may have been inspired by Indian metal work, while the technique of transparent enamel was revived in late 19th-century France, and looked back to the art of the Medieval period. "The Jewelers' Circular" described this piece as follows: "cup of 18 karat gold covered with richly chased design of Indian ornament. This cup is elaborately pierced and filled with transparent enamels of rich blue and turquoise, the same tones being repeated on the foot." According to a Tiffany & Co. pattern book, this cup (18194) was completed on 13 July 1913 and the cost of labor and fabrication was $2,500. The pattern book also states that the cup was "enameled at the store," which would indicate that the body of the cup was made in the silver division of the firm in New Jersey and then enameled in New York, under the direction of Julia Munson Sherman, one of a group of so called "Tiffany Girls," who worked at the firm but who was not credited. Sherman left the firm the year after this cup was made when she married, as Tiffany, like many other employers at the time, would not employ women who were enaged to be married or married.
H: 8 11/16 x Diam: 9 13/16 in. (22 x 24.9 cm)
medium: gold, transparent enamel
Walters Art Museum, 1931, by bequest.