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The striking, large-scale figure shown on this tunic has an elaborate, monkey-like tail as well as head appendages that mark the creature as supernatural. This tunic, a relatively rare type, was made not on a loom but rather by working the yarns into loops with a needle. It is made entirely with camelid fiber, which can readily be dyed in a range of vivid colors. The fiber comes from one of the four camels (camelids) native to the Andes Mountains—the alpaca and llama, both domesticated, and the wild guanaco and vicuña. On the coast, it represents a prestige import.
Peru, South Coast, Ica Valley, Ocucaje site?, Paracas people
looped camelid fiber
Average: 94 x 82.6 cm (37 x 32 1/2 in.)
Did you know...
The red dyes in this tunic likely come from madder root.
The Norweb Collection
A bird is depicted perched on the branch of an oak tree. Beneath the bird is a small cluster of gold acorns. This is part of a set with Walters 51.1012.
Japanese
1 5/16 in. (3.4 cm) (l.)
medium: shakudo, copper, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
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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Ancient Egyptians believed the goddess Taweret, whose name translates as "the Great One," offered protection to women during pregnancy and childbirth. She is represented as a hippopotamus with a swollen belly, pendulous human breasts, the limbs of a lion, and the back and tail of a crocodile. Taweret was a benevolent deity and was commonly depicted on amulets. Underscoring her function as a protector, she holds the hieroglyph "sa," meaning protection, in each hand, (the cartouches on her shoulders were added at a later date, and have so far escaped a definitive reading). Although her cult gained great importance, she had no temples of her own.
Egyptian
H: 20 7/8 x W: 8 7/16 x D: 9 3/4 in. (53 x 21.5 x 24.7 cm)
medium: red granite
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
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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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Jennie Walters was born in 1853, the daughter of William T. and Ellen Walters (née Harper), and the sister of Henry Walters. She was educated in Paris, and at St. Mary's Convent, Georgetown, and later at Harvard University. In Cambridge she met Warren Delano, a close friend of her brother. She became engaged, and they married in 1876. After her marriage she lived in Orange, New Jersey, and, from 1900, in New York City. She had seven children, five of whom lived into adulthood. She died in 1922.
Baker's contemporaries credited his success to his early work as a miniature painter, a craft he learned from his father. Such training helped the younger Baker hone his skills at modeling the human figure, creating delicate color effects, and fostering a sense of intimacy in full-scale oil portraits.
H: 14 5/8 x W: 12 3/8 in. (37.2 x 31.5 cm)
Framed: 22 x 20 x 3 3/4 in. (55.9 x 50.8 x 9.5 cm)
medium: oil on canvas
style: Victorian
Walters Art Museum, by bequest, 1931.
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The decoration of this large dish is a striking example of a popular subject for maiolica, a Bella Donna or beautiful woman. It could have been intended as a stylized portrait of a real woman or as an evocation of a poet's beloved, such as Laura who was praised, admired, and desired by the famous Italian poet Petrarch (1304 -74) in his sonnets. This plate testifies to the flourishing culture of love poetry during the Italian Renaissance. The beautiful young woman with jewelry and long flowing hair as well as modestly averted eyes is surrounded by a scroll that translates: "As long as I live, I will love you, and after your death my one humble desire is to be united with you. I am left at your mercy." Such a melancholic and stylized declaration of love was characteristic of courtly society and speaks of the power of beauty to enamor the beholder, especially in a society in which the male suitor may know very little for certain about a young woman other than her appearance and her family's standing. A similar plate with the identical image of a woman in the center (Victoria and Albert Museum, London) bears an inscription that translates: "Only death extinguishes true love."
The striking combination of cobalt blue and gold-colored luster is characterisitc of Deruta. The plate's size and extensive luster decoration also suggest that it was intended to be placed on view and displayed in a prominent location, an example of the category of Piatti da Pompa, or show dishes.
For other depictions of Belle Donne, or Beautiful Women, see: 48.1351; 48.1358; 48.1510; for more on maiolica, see: 48.1336; for luster decoration, see: 48.1320
3 7/16 x 17 5/16 in. (8.7 x 44 cm)
medium: earthenware with tin glaze (maiolica) and luster decoration
Walters Art Museum, 1931, by bequest.
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
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
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Medieval medicine offered few cures. Christians focused their hopes for recovery from illness or accident on their prayers to saints to intercede for them with God. Saints Cosmas and Damian, Protasius and Gervasius, were two pairs of twin brothers who were invoked for their healing of the sick. The statues are from the hospital complex at Abbeville, built between 1484 and 1492, where they may have stood in niches at the entrance to the church.
The vigorous modeling and realistic details- as in the variety in their facial expressions- are made more vivid by the use of color and give credibility to the saints' humanity. Their size, relative to the sick at their feet, conveys their superhuman powers, while the clerical garments lend them authority. The stocky proportions are typical of French sculpture of the late 15th century.
Damian, seen here with an ointment jar and a spatula, prepares to cure a lame man supported by a crutch.
French
H: 27 9/16 x W: 12 1/2 x D: 7 13/16 in. (70 x 31.8 x 19.8 cm)
medium: limestone with traces of paint and gilding
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.
L. 8 ft. 9 3/8 in. (267.7 cm); L. of head 25 3/16 in. (64 cm); W. 12 3/16 in. (31 cm); Wt. 7 lbs. 2.6 oz. (3248.9 g)
medium: Steel, wood, textile
Metropolitan Museum of Art, New York, NY 14.25.408 1914
Gift of William H. Riggs, 1913
This sinuous animal formed the handle of a lid to a vessel, perhaps a situla (pail) or cista (cylindrical container). The head is that of a panther, while the curve of the body has become so pronounced that it resembles a weasel. The Etruscan love of animals inspired their craftsmen to adorn many simple household objects with decorative animal imagery.
Etruscan (?)
H: 2 3/4 x W: 3 7/8 x D: 1 1/4 in. (7 x 9.9 x 3.2 cm)
mount H: 1 x W: 4 5/16 x D: 2 in. (2.5 x 11 x 5.1 cm)
medium: bronze
culture: Etruscan (?)
Walters Art Museum, 1931, by bequest.
This is the second type of gold halfcrown, showing the queen in ornate style. She often wore elaborate and luxuriously decorated dresses, many of them heavily bejeweled as seen here. The mint mark, visible just above the crown on the reverse, is a tun or barrel. This helps identify the date the coin was issued as the mint mark changed every few years.
England, Elizabeth I, 1558-1603
gold
Diameter: 1.5 cm (9/16 in.)
Did you know...
First issued in 1549, the halfcrown is the equivalent of two shillings, six pence. It was discontinued in 1970.
The Norweb Collection
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.
"The scene depicts one of the crossings, and not a favorable one. The water is deep and Bull boats must be resorted to. The Trapper in the foreground looking back at the approaching Caravan is waiting for orders, while others are testing the depth of the river by swimming across with faint hopes of any fording that will answer so as to avoid the construction of boats. The preparation of the latter loses much time,- sufficient Buffalo must be killed at once to furnish the hides, and while one party is in search of these, another is removing the goods from the larger wagons and taking the bodies from the wheels;- hides are sewed and streched over them, and the contents of all the other vehicles transferred,- the boats are then floated over by the men wading and swimming along-side. Canadian Trappers display wonderful good nature on such occasions, singing their simple French songs;- but when any fighting is to be done, the Kentuckian and Missourian take precedence by long odds." 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.
H: 9 1/8 x W: 12 15/16 in. (23.2 x 32.9 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
H. 3 3/4 in. (9.5 cm)
medium: Earthenware, gaudy dutch
Metropolitan Museum of Art, New York, NY 34.100.106 1934
Gift of Mrs. Robert W. de Forest, 1933
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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