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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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Signs that feature unnecessary quotation marks can give the wrong message. Sarcasm asside, have a safe and fun-filled Fourth of July!
Central Côte d'Ivoire is characterized by cultural assimilation and adoption. Connections can be seen in masquerades and in composite mask forms. Here, masks often blend human and animal features, and the depiction of elephant traits is a recurring theme. Yaure peoples associated elephant masks with a cult called Dye, and they appear when important sacrifices have to be made.
Africa, West Africa, Côte d'Ivoire, possibly Yaure-style carver
Wood, paint, and colorant
Overall: 31.7 cm (12 1/2 in.)
Gift of Katherine C. White
Smoking tobacco was introduced to the Mughal court from Iran in the very early 1600s and soon became popular. This base formed part of a hookah, or water pipe, which consisted of a base that held water—sometimes perfumed with herbs or fresh fruit—a detachable bowl to hold tobacco, and a long tube. Early hookahs used existing vessels for bases, including coconut shells. By the late 1600s or early 1700s, richly decorated pieces like this were produced. The jewel-like decoration of blue and green blossoms evokes a garden in which a smoker might have sat.
India, Mughal Dynasty (1526-1756)
Glass with colored enamel and gilding
Overall: 17.8 cm (7 in.)
Did you know...
Turquoise five-petaled flowers hang from lime green pedicels.
The Norweb Collection
The sexual features of this creature have been emphasized so as to guarantee fertility to the woman who drank from it.
Iran, Marlik
ceramic, earthenware, burnished
Overall: 24.1 x 14.7 x 16.5 cm (9 1/2 x 5 13/16 x 6 1/2 in.)
James Albert and Mary Gardiner Ford Memorial Fund
Although it is impossible to say if it was always part of the artist’s process to execute a preparatory sketch prior to painting each miniature, we do know that John Smart retained many hundreds of these sketches. A group of preparatory sketches—of which this portrait is one—descended through the Smirke family after Smart’s daughter Sarah gave a sketchbook containing preparatory portrait studies to her friend Mary Smirke, sister of the celebrated Victorian architect Sydney Smirke. This book was probably broken up around 1877 when it was divided between Sydney’s daughters Mary Jemmett and Mrs. Lange, whose portions were both sold at auction in 1928.<br>Compared to his contemporaries George Engleheart (1752–1829) and Andrew Plimer (1763–1837), whose female sitters were often painted in similar simple white gowns, Smart often lavished more attention on the costumes in his portraits of women, whose dresses incorporated colored silks, printed fabrics, and luxury trimmings like lace and fur. The sitter’s head and shoulders face left. She has what was probably once blond hair—now faded to pink—dressed high on her head, with curls down the back of her neck, over which a veil descends. Her eyes are hazel, and the color of her lips has almost completely faded. Positioned in an oval, and revealing much of her left breast, she wears a low-necked dress with faint traces of pink pigment, trimmed with a string of pearls. The background is unpainted. To this date, the finished ivory for which this preparatory sketch was presumably undertaken has not been discovered.<br>The portrait was assigned the historically colorful but fictitious title of “Henrietta Maria” at some point after memory of its true identity had been lost. Giving illustrious titles to portraits of unknown sitters was a popular strategy adopted by dealers during the nineteenth and twentieth centuries, often applied to miniature portraits and, in particular, to Smart’s sketches of women. In 1948 Arthur Jaffé wrote to the Cleveland Museum of Art that a “Mrs. Samuelson of Exeter recently brought me two frames, with six sketches mounted in each, of ladies, mostly with fancy names. I think there is no doubt that they were part of Mrs. Lange’s share of the Smirke sketches, though unlike yours they did not pass through Christie’s auction in Dec. 1928. I persuaded Mrs. Samuelson to let me remove them from their frames and to rub the paper backing from the card on which the sketches are painted. The result was as follows. Included was a No. 115 called, Margaret, Archduchess of Austria, which is the same number given to our Henrietta Maria.” Elsewhere Jaffé notes that the number on the front of this sketch was probably a 119 instead of a 115.
England, 18th century
graphite and wash on laid paper
Framed: 8.8 x 7.6 cm (3 7/16 x 3 in.); Unframed: 6.4 x 5.1 cm (2 1/2 x 2 in.)
Did you know...
Sketches helped John Smart work out the particulars of a portrait before commencing the miniature on ivory; they were useful in the event that a duplicate might later be required.
The Edward B. Greene Collection
CHANNEL 4 PICTURE PUBLICITY.124 Horseferry Road.London SW1P 2TX.020 7306 8685..GARTH MARENGHI'S DARKPLACE 1/6.Sanchez, Dean, Garth & Madaleine..Tx:03/10/2006 12:10..This picture may be used solely for Channel 4 programme publicity purposes in connection with the current broadcast of the programme(s) featured in the national and local press and listings. Not to be reproduced or redistributed for any use or in any medium not set out above (including the internet or other electronic form) without the prior written consent of Channel 4 Picture Publicity 020 7306 8685
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
http//www.weshare.hk/94503374decoration
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http//eventdecoration.pixnet.net/blog
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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/
The scene depicts two sets of battling beasts. The first is a strangely posed bull-man, wrestling with a fantastic lion-like creature; the second is another strangely posed bull-man, wrestling with a composite horned caprid/bull creature. There is one register of cuneiform.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Akkadian
H: 1 1/8 x Diam: 5/8 in. (2.9 x 1.5 cm)
medium: brown and white stone
culture: Akkadian
Walters Art Museum, 1941, by purchase.
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.
"Before they are 16 years of age, these girls may be said to have their hey-day, and even if they become the wives or mates of Trappers, are comparatively happy, for they generally indulge them to their hearts' content; should they become however the squaws of Indians, their lives are subjected to the caprices of a tyrant too often, whose ill treatment is the rule and kindness their exception. Nothing so strikingly distinguishes civilized from savage life as the treatment of women. It is in every particular in favor of the former. The scene in the sketch is a sunset view on the prairie,- a Shoshonee girl reclined on a Buffalo robe near a stream, and some lodges and Indians in the distance." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
7 1/2 x 11 7/8 in. (19.1 x 30.1 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
i'll no longer be using this flickr account.
i made a new one, because i hate my url.
haha.
so if there's anyone at all out there that watches my stream,
or would like to see more pictures from me, the link to my new flickr is above.