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France, Nancy, 20th century
glass blown into bronze cage
Diameter: 17.5 cm (6 7/8 in.); Overall: 12.4 x 24.2 cm (4 7/8 x 9 1/2 in.)
Gift of Mrs. Robert I. Gale, Jr., Mrs. Caroline Macnaughton and Fred R. White, Jr.
This tripod bowl consists of a white porcelain paste molded and carved with designs, handles, and feet and covered with white glaze. The crisp molding on the body depicts a variety of auspicious symbols as dangling pendants. The inclusion of two pairs of fish as well as the Chinese character "xi' for "happiness" suggests the bowl commemorates the beginning of a happy and long marriage. Fine incisions and a variety of textures are impressed into the paste of these designs. The looped handles take the form of two dragon heads bearing loose porcelain rings in their mouths.
Chinese
H: 10 3/4 in. (27.3 cm)
medium: porcelain with white glaze
culture: Chinese
dynasty: Qing Dynasty
reign: Daoguang (1820-50)
by bequest to Walters Art Museum, 1931.
This locket may have once been an amulet containing prayers and talismans or a container for perfume or other cosmetic items. At the center, a young woman stands between two groupings of large red flowers. The connections between women and nature have ancient precedents in India, often communicating auspicious fertility. Luxury enamels like this were the hallmark of 18th-century Jaipur goldsmiths and jewelry makers. <br><br>This locket was given to the museum by the Twentieth Century Club, a women’s community group founded in the early 1900s with satellites across the United States.
Northwestern India, Rajasthan, Rajput Kingdom of Jaipur
gold and enamel
Case: 3.1 x 3.5 cm (1 1/4 x 1 3/8 in.)
Did you know...
Green glass, now mostly lost, once filled the lozenge shapes in the woman’s gown.
Gift of the Twentieth Century Club
Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna.
Fabergé's revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloché," or mechanically engraved gold, is demonstrated in the shell of the egg. So meticulously did Fabergé's workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees.
H: 5 x W: 3 9/16 in. (12.7 x 9.1 cm)
medium: gold, "en plein" enamel, silver-gilding, portrait diamonds, rock crystal, and seed pearls
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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This small night lamp is made almost entirely of Louis Comfort Tiffany's signature Favrile glass. In the 1880s when Tiffany began collaborating with glass artists on new types of production, his aesthetic ambitions were realized in the development of Favrile glass, deliberately named to sound French, expensive, and “handmade.” Largely through Tiffany's marketing ability, Favrile glass became America’s greatest contribution to the Art Nouveau style. His works were exhibited at international expositions; galleries in major European cities, where his creations were bought by many museums; and in his store in Manhattan, known as the Tiffany Glass and Decorating Co., later Tiffany Studios. From the outset, Tiffany used Favrile glass in mosaic panels, stained glass windows, and his artistic line of table and floor lamps.
America, New York
Favrile glass
Overall: 32.4 cm (12 3/4 in.); Diameter of base: 17 cm (6 11/16 in.)
Did you know...
Mushrooms were a popular Art Nouveau motif used throughout Louis Comfort Tiffany's artistic production.
Bequest of Charles Maurer
Unlike fragile portrait miniatures painted in watercolor on vellum or ivory, which are prone to cracking, fading, and flaking, enamels are resilient, impervious to the effects of light, and retain their striking original colors over time. Partly for this reason enamel was considered ideal for reproducing famous paintings and treasured portraits in a reduced and luminous form. The complicated and labor-intensive process of enameling required the artist to fire numerous layers of colored metal oxide at different temperatures, which made it difficult to produce a faithful portrait likeness, though masters of the medium were able create portraits of remarkable subtlety imbued with the sitter's personality. The heyday of enamel painting was the late 1600s and early 1700s. Among the enamel specialists was Petitot, who was patronized by King Charles I of England, King Louis XIV of France, and King John III Sobieski of Poland.
France, 17th century
enamel in a silver gilt frame
Framed: 2.9 x 2.2 cm (1 1/8 x 7/8 in.); Unframed: 2.3 x 2.1 cm (7/8 x 13/16 in.)
The Edward B. Greene Collection
7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr
This is a visual representation of what all the URL links branching off my blog at barkandbyte.blogspot.com looks like, using the Texone Tree applet, which you can find at www.texone.org/tree/tree.php?id=applet
Here, it's been running for about 40 minutes, and it's only about halfway through all the links.
greenmarine.se (on the sticker on the boat-lifter.) A number of the docks we passed had boats of this size lifted out of the water - apparently saves on hull maintenance and cleaning, and you don't have to winter it somewhere else.
In 1673, Bernini was commissioned by Pope Clement X to design gilded figures of the twelve apostles and the Risen Christ to crown the tabernacle of the Chapel of the Blessed Sacrament in St. Peter's Basilica. Working from Bernini's designs, Giovanni Rinaldi made the models. Girolamo Lucenti, the bronze founder, had problems casting the Risen Christ, and the initial bronze cast had a flaw across its chest. This cast, now partially repaired and in the Walters' collection, was left in a rough state. The model was recast, gilded, and installed in St. Peter's.
Christ's idealized body recalls ancient sculptures of the sun-god Apollo, praised as having a perfect physique. His striding pose is beautifully balanced while his ascent toward heaven is suggested by the deeply carved, fluttering drapery, seemingly responding to an invisible wind and creating a strong play of light and shadow. Bernini was the greatest sculptor of his age. He imbued figures of both metal and marble with an unsurpassed sense of life and motion.
Italian
H: 17 5/16 in. (44 cm)
medium: bronze
culture: Italian
Walters Art Museum, 1942, by gift.
Egypt, New Kingdom (1540–1069 BCE)
turquoise faience with purple-black painted decoration
Overall: 5.8 x 3.4 cm (2 5/16 x 1 5/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
This symmetrical oval plaque has icons and inscriptions on both sides. The front depicts an icon and image of King Thutmosis IV (1397-1388 BCE); on the back is a representation of a vulture combined with the royal name. Both sides are executed in sunk relief with deeply incised outlines and finer lines on the inner structures. The sides are smoothed and the layout is balanced. The piece is carefully made.
The plaque functioned as an individualized amulet, and was originally mounted and threaded. The amulet should secure the divinity and royal authority for the king, as well as divine protection; it should provide a private owner with his royal patronage and divine protection.
The figure of the vulture above a cartouche is less common on scarabs; more often are examples displaying the vulture with outstretched wings at the side of the royal name. Oval plaques of this type are typical for the 18th Dynasty, especially for the period of the reign of Thutmosis III (1479-1425 BCE)-Amenophis III (1388-1351/1350 BCE).
Egyptian
H: 3/16 x W: 1/2 x L: 3/4 in. (0.5 x 1.3 x 1.9 cm)
medium: light beige faience with blue-green glaze
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV (1397-1388 BC)
Walters Art Museum, 1931, by bequest.
Alfred Jacob Miller was a prolific sketcher. He filled many journals with drawings and captions from the time he was studying in Paris and Rome (1833) until the 1870's. The varied interests of Miller are clearly reflected in these sketches: rural sites, studies after Old Master paintings, illustrations of literature, and comical scenes and characters.
This sketch comes from the family album of L. Vernon Miller, which contains works that have passed down through the Miller family directly from the artist.
H: 9 1/4 x W: 5 1/8 in. (23.5 x 13 cm)
medium: pencil, ink, and wash on white paper
given to Walters Art Museum, 1994.
[1] passed directly from the artist down through his family.
Madrazo reached the pinnacle of his success at the 1878 Exposition Universelle, where he was proclaimed the successor to his brother-in-law Mariano Fortuny as the foremost contemporary Spanish painter. In this work, he displays his dramatic sense of color, mastery of atmospheric effects, and technical skill.
This painting explores the inequalities of modern life; the population of 19th-century European cities ballooned as rural workers migrated to urban environments looking for employment. The artist highlights the social and economic disparities that resulted. As wealthy, fashionably dressed women leave a church, they pass numerous men and women seated on its steps who have no source of income and are asking them for money.
H: 25 3/16 x W: 39 3/8 in. (64 x 100.01 cm)
Framed H: : 37 13/16 × W: 51 15/16 × D: 4 15/16 in. (96 × 132 × 12.5 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
Go to Page 102 in the Internet Archive
Title: A treatise on the science and practice of midwifery [electronic resource]
Creator: Playfair, W. S. (William Smoult), 1836-1903
Creator: King's College London
Publisher: London : Smith, Elder & Co.
Sponsor: Jisc and Wellcome Library
Contributor: King's College London, Foyle Special Collections Library
Date: 1893
Language: eng
Description: King’s College London
Vol. 1: xviii, 430, [2] p. ; vol. 2: xiv, 443 p
Final [2] p. of vol. 1: publisher's advertisements
With frontispiece plates
With half-title pages
Includes bibliographical references. Index in both volumes
First edition published in 1866
This material has been provided by King’s College London. The original may be consulted at King’s College London
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
This small-scale panel painting depicts the Virgin and Child flanked by the Archangels Michael and Gabriel who guard the mother and child with swords and shelter them with their wings. Below are the Ethiopian Saint Iyalot, her son Saint Qirqos (Saint Cyriacus) who holds the Virgin Mary’s wrist and converses with her, Saint Gebre Krestos, and Saint Ab Nob the Martyr. In an unusual detail, both Mary and Iyalot hold hand crosses, similar to those used by Ethiopian Orthodox clerics (see
Christian Highland Ethiopia
H: 10 7/16 x W: 7 3/8 in. (26.5 x 18.8 cm)
medium: tempera on wood
culture: Christian Highland Ethiopia
Walters Art Museum, 2002, by purchase.
Within a roundel are a pair of mounted Amazons, addorsed and shooting backward at lions, which attack their running horses. The roundel frame is filled with stylized floral motifs and is bordered on the inside by a band of tiny hearts and on the outside by a guilloche. At the four axial points, smaller circles with the same design as the border of the roundel are superimposed. Only a fragment of foliate motif of the interstices remains. The design is ecru on deep bluish-purple.
Egypt or Syria(?)
samite: silk
Overall: 22.2 x 23.5 cm (8 3/4 x 9 1/4 in.); Mounted: 31.1 x 31.8 cm (12 1/4 x 12 1/2 in.)
Purchase from the J. H. Wade Fund