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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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//blog.xuite.net/wedding_decorations/hkblog
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http//christyflorist.tumblr.com/
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www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
This folding fan decorated with figures in 18th-century costume dancing, playing music, and flirting exemplifies the Rococo revival in America. In response to widespread urbanization and the spread of manufacturing, wealthy members of American society embraced styles and subjects of the past such as the fête champêtre (outdoor entertainment). This luxurious, handmade object denounces the mechanization of mass production.
France, late 19th century
Leaf: gouache on paper; sticks and guards: mother-of-pearl; pivot: gold
Overall: 24.2 cm (9 1/2 in.); Spread: 46.1 cm (18 1/8 in.)
Gift of Helen Humphreys
This faience amulet represents Hapy, the baboon-headed son of Horus. There are four sons of Horus and this amulet is part of a set of four (Walters 48.1638-1641). The sons of Horus protected he vital organs of the body after mummification. The image is that of a baboon-headed mummiform human. The figure faces proper right. It is composed of blue glazed faience with the details picked out in purple/black manganese. The figure wears a tripartite wig, but unlike the other three in this set he does not wear a broad collar. There are five diagonal stripes of manganese across the mummiform body representing the mummy wrappings or braces. A horizontal fracture at knee level separated the amulet into two fragments which have since been reattached.
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. These amulets have been modeled with a flat underside and are pierced by tiny holes around the edges for attachment.
Egyptian
H: 3 9/16 x W: 1 x D: 1/4 in. (9 x 2.5 x 0.7 cm)
medium: Egyptian faience with blue and black glaze
culture: Egyptian
dynasty: 23rd-25th Dynasty
Walters Art Museum, 1931, by bequest.
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.
Another one bites the dust. Now there will be three sushi places within mere blocks of each other. Unnecessary?
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
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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.
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 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
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/
Originating in the Americas, the practice of “taking snuff,” or inhaling pulverized tobacco through the nose, became a common European custom by the 17th century. Consumers of all social levels and of both sexes would carry small, airtight boxes filled with the powdered tobacco, taking a pinch whenever they needed. Over time, however, society’s elites began to purchase and commission increasingly extravagant and precious boxes. Kings and Queens would often present snuffboxes to ambassadors as diplomatic gifts and to courtiers as payment for services. Made of a variety of precious materials, including gold, enamel, semiprecious stones, lacquer, and tortoiseshell, snuffboxes were coveted and enthusiastically collected. Displaying one’s collection of prized snuffboxes or stylishly retrieving an elegant box from one’s pocket were important social rituals; these objects revealed a person’s tastes, interests, and erudition. Frederick, Prince of Wales (1770-1751), heir apparent to the British throne, presented this chiseled gold snuffbox with a presentation inscription to Dr. Nathaniel Lee (1664-1755). On 4 June 1738, Dr. Lee attended the Prince of Wales's wife, Princess Augusta of Saxe Gotha, during the birth of of the couple's first son, who eventually reigned as King George III.
The snuffbox shows Jupiter grasping a thunderbolt and seated on his eagle amidst clouds. The border shows floral festoons and two crossed braches of laurel. Round the body is a double line of flowers or shells. On the bases is a trellis pattern. The motif of Jupiter is copied from the design of Claude Audran III (1658-1734) peintre du roi, for the center portion of a tapestry from the set of "Les portieres des Dieux, Les quatre Elements (Jupiter for Fire) which were ordered in 1699 and painted before 1702.
The inside of the cover is engraved "The Gift of / Frederick Prince of Wales / To / Nathl. Lee M.D." This is English work, probably made in London, ca. 1738. There are no marks. In his will Dr. Lee left the box to "Mrs. Sarah Beavis of Hatton Garden."
H: 1 1/16 × W: 2 1/4 × L: 3 1/16 in. (2.7 × 5.7 × 7.77 cm)
medium: cast and "ciselé" gold
Walters Art Museum, 1931, by bequest.
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