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Pissarro, son of the French Impressionist artist Camille Pissarro, moved to England in 1890. By 1894 he and his wife, Esther Bensusan Pissarro, had bought a printing press and established the Eragny Press. Influenced by William Morris, they were involved in every step of the production process: designing, cutting the woodblocks, setting type, and printing. The first book published by Ergany Press, The Queen of the Fishes, is based on an old fairy tale in which a peasant boy and girl escape the hardships of their lives by fantasizing that they have been turned into a giant oak and a splendid fish, respectively.
England, 19th century
woodcut printed in gray
Book page: 19.2 x 13.3 cm (7 9/16 x 5 1/4 in.)
Gift of Henry H. Hawley for the fiftieth anniversary of The Print Club of Cleveland
In the upper-left corner, the goldsmith and the carpenter have dinner with their wives and children. The greedy goldsmith has robbed the carpenter who, in revenge, abducts the goldsmith’s sons and replaces them with two bear cubs. Below, the bears rub their faces against the goldsmith’s sleeves, proving to the judge that they must be the man’s transformed children.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Painting only: 10.2 x 10.5 cm (4 x 4 1/8 in.); Overall: 20 x 13.7 cm (7 7/8 x 5 3/8 in.)
Did you know...
After the goldsmith returned the stolen goods, his sons were given back.
Gift of Mrs. A. Dean Perry
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During the 1860s, Boudin executed many paintings and watercolors representing well-to-do tourists and vacationers enjoying seaside resorts in Normandy, principally Trouville and Deauville. In this scene, the informally posed figures suggest a sense of relaxation and intimacy. The overturned chair in the foreground underscores the impression of a casually observed moment, as though a sea breeze or a quick departure by its former occupant has upended it. The majority of Boudin's small oil paintings of beach scenes of the 1860s were executed on wood panel. After laying down a thin white ground, Boudin seems to have begun painting directly, not drawing or laying in guidelines for the forms. The result is a freshness and airiness appropriate to a windy day at the beach.
France, 19th century
oil on wood panel
Framed: 45.7 x 36.8 x 3.5 cm (18 x 14 1/2 x 1 3/8 in.); Unframed: 34.7 x 26 cm (13 11/16 x 10 1/4 in.)
Did you know...
Boudin evokes the feeling of wind by painting the fluttering blue dress, the beach walker leaning to the left, the whitecaps on the water, and the angle of the sails on the boat in the distance.
Gift of Mrs. Homer H. Johnson
France, 19th century
etching
Sheet: 35.4 x 49 cm (13 15/16 x 19 5/16 in.); Platemark: 24.6 x 34.6 cm (9 11/16 x 13 5/8 in.)
Dudley P. Allen Fund
This steatite scarab is the bezel of a finger ring. Its flat underside is incised with a vertically arranged design of a pair of facing, connected "Udjat" eyes with script signs below. The design of the back of the scarab is simple with short and aligned carved side-notches and a well proportioned layout. The workmanship of the piece is slightly rough and it is not very carefully made.
This scarab originally functioned as an amulet. It should protect the life and regeneration of its owner and provide divine support. The piece was originally mounted or threaded.
The very stylized shape of "Udjat"-eye-pair was common in the late Middle Kingdom and the Second Intermediate Period.
Egyptian
H: 3/8 x W: 11/16 x L: 15/16 in. (0.9 x 1.8 x 2.4 cm)
medium: light brown steatite with green-blue glaze and bronze setting
culture: Egyptian
dynasty: 15th Dynasty
Walters Art Museum, 1931, by bequest.
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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.
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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.
This squat lekythos depicts Eutychia, Eunomia, and Paidia. On the left Eutychia stands frontally, looking right. She holds a chest on her left forearm at waist level; her right hand hangs down by her side holding a necklace. She wears a girded peplos, diadem, necklace, earring, and bracelets. Next is Eunomia who walks solemnly to the right, holding a necklace between her outstretched hands. She wears a girded peplos, necklace, bracelets, earring, diadem and a decorated band which holds her hair in place. On the right Paidia stands turned partially to the left, holding a chest. She wears a girded peplos, necklace, earring, and bracelets; her hair is tied in back. A diphros with a thick, patterned cushion stands beside her.
The personifications on this vase, from left to right are to be understood as Good Luck, Good Order, and Games and Play. They are depicted as normal Athenian women and do nothing which might associate their actions with the literal meanings of their names.
Greek
H: 8 x Max. Diam: 4 1/2 in. (20.3 x 11.4 cm)
Diam at mouth: 1 11/16 in. (4.3 cm)
Diam at foot: 3 5/16 in. (8.4 cm)
medium: terracotta
style: Attic
culture: Greek
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 a begging poodle or green and black jasper into this parrot. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.
Russia, St. Petersburg
jasper, agate, emeralds
Overall: 15.3 x 7.4 cm (6 x 2 15/16 in.)
Did you know...
This parrot is part of a figure that includes a perch for the bird to sit upon.
The India Early Minshall Collection
2 1/2 x 2 1/2 x 15/16 in. (6.4 x 6.4 x 2.4 cm)
medium: Two cases; lacquered wood with gold and silver togidashimaki-e, hiramaki-e, takamaki-e, cut-out gold foil application on black ground
Netsuke: bat; carved walrus ivory
Ojime: coral bead
Metropolitan Museum of Art, New York, NY 13.67.11 1913
Rogers Fund, 1913
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.
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund