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The scene on this cylinder seal depicts a nude goddess with arms clasped at her midriff, and a star in the field over her right shoulder. It has a cuneiform inscription in three registers.
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.
Babylonian
H: 13/16 x Diam: 7/16 in. (2.1 x 1.1 cm)
medium: quartz (?)
culture: Babylonian
Walters Art Museum, 1941, by purchase.
This scene of outdoor, rustic frivolity was probably painted by the Master of the Béguins, a Flemish imitator of the Le Nain brothers who capitalized on their success around the 1650s in Paris. Distinct features of this artist's style are the wide eyes, pudgy cheeks, and white peasant caps—béguins—that give the artist his name. The sturdy and comical peasants, clothed in coarse fabrics with heavy folds, and the use of earthen tones emphasize the provincial mood. During the mid-17th century, the treatment of the poor and lower classes was a subject of great debate in the Catholic Church in Paris, especially at Saint Sulpice, where the Le Nain brothers were buried. Scenes of everyday workers or peasants were incredibly popular, drawing on both comic, Flemish genre scenes of drinking and the French interest in carefully observed, realistic details. Although the picture's meaning remains ambiguous, the gaiety of this world comes from the wonderfully naturalistic details, such as the worn hole on the piper's elbow, the villagers' cheerful expressions, and still-life details such as the ripe apples and reflective drinking vessel.
France, 17th century
oil on canvas
Framed: 111 x 142 x 8 cm (43 11/16 x 55 7/8 x 3 1/8 in.); Unframed: 91.8 x 120.3 cm (36 1/8 x 47 3/8 in.)
Gift of Mrs. Salmon P. Halle in memory of Salmon Portland Halle
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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eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
This statuette of a male figure has his arms by his sides and his left foot forward in the manner of a Greek Kouros, a type of statue that depicts a nude youth. This statuette is considered the earliest of the surviving bronzes from a large deposit of votive objects (including over 600 bronzes) found in 1838 on Mount Falterona at a site known as the Lake of Idols.
Etruscan
H: 4 11/16 x W: 1 7/16 x D: 1 3/16 in. (12 x 3.7 x 3 cm)
Mount H: 7/8 x W: 1 15/16 x D: 1 7/8 in. (2.2 x 4.9 x 4.8 cm)
medium: bronze
culture: Etruscan
Walters Art Museum, 1931, by bequest.
The scene includes a bearded, nude hero wrestling a horned bovid, and a bull-man wrestling a lion. Additionally, there is a cuneiform inscription in two registers.
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 1/4 x Diam: 3/4 in. (3.1 x 1.9 cm)
medium: green stone
culture: Akkadian
Walters Art Museum, 1941, by purchase.
These eight woodcuts (1959.99.8-15) progress from Gabriel’s announcement to Mary that she would bear the Son of God, to the events of her early motherhood and beyond. This included the joy of sharing her pregnancy with her cousin Elizabeth, Jesus’s birth, and the subsequent arrival of the magi. After Jesus’s circumcision and presentation at the temple the Holy Family fled to Egypt to avoid Herod and stayed there for several years. The seemingly out of place last scene shows a glimpse of their daily life in Egypt as Joseph continues his carpentry and Mary spins wool. The Holy Family is surrounded by angels and helpful putti and are blessed by God the Father and the Holy Spirit in the form of a dove overhead.
Germany, early 16th Century
woodcut
Dudley P. Allen Fund
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/
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
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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