View allAll Photos Tagged artifacts
Timeless Artworks from WOVENSOULS.COM
Online Shop OF Antique Textiles and Folk art patronised by Interior Designers, Museum Authorities, Dealers and discerning Collectors.
jaina@wovensouls.com
Singapore
Artifacts Trio - 10.10.2024 - Jazzit Musik Club Salzburg
www.jazzfoto.at/konzertfotos24/artifacts-trio/Index.htm
Besetzung:
Nicole Mitchell: flute;
Tomeka Reid: cello;
Mike Reed: drums;
The label accompanying this trophy at the Westport Maritime Museum says:
- - ------------------------------------ - 1860------------------------------------ - -
Unearthed at Old Fort Chehalis, Westport, Washington.
Top loading wood stove.
This pencil sketch gives a pretty good idea of how this stove looked in 1860 at Old Fort Chehalis. Evidence from the recovered top tells that it turned sideways to put in more wood and that there was no end door. The top exhibited here was exhumed from the sand dunes at the Old Fort site and must have been buried for more than 100 years. It was badly rusted and no other parts were recovered.
Fort Chehalis was established to protect the citizens from Indian attacks. During the Fort's existence, not a single shot was fired at the hostile Indians.
---------------------------------------------------------------------------------------------
There are several topics to comment on here.
The first is the way this object is displayed. The other is the so-called "hostile Indians" referred to on the label
Currently, the stove lid is not just an artifact. The fancy carpentry on the frame and the gold paint convert the old stove lid into a piece of local-historical-society kitsch. The finders were thrilled about their discovery, which was obviously a prize, and they wanted a display equal to the excitement of that special moment when they first spied a piece of rusty metal at the site of the Old Fort.
As for the paint, it too is part of the kitsch. Black would have been more authentic but less special. However, the designs do stand out more against gold than black.
In the end, it's better off like this than if it were still sitting in its oxidized state at the back of a lower shelf of a dimly lighted display case.
The other topic is Old Fort Chehalis and the "hostile" Indians mentioned on the stove lid's label.
Here's one version of the story, found on a non-objective memorial marker:
"This tablet was placed by Robert Gray Chapter Daughters of the American Revolution June 1929 to mark the site of Fort Chehalis which was established in 1860 for the protection of white settlers."
This is all very John Wayne.
Now, for the real story. The Thumbnail History of Westport provides some context:
Chehalis Tribal peoples initially populated the area now known as Westport. The Chehalis ate fish as a diet staple, and constructed longhouses with one end open to the water for easy salmon collection.
When non-Indians started arriving, diseases such as smallpox and malaria spread. But it wasn't until 1853 -- and the landed settlement of the new arrivals -- that disease truly devastated the Chehalis Tribe. A smallpox outbreak originating from a boat in Neah Bay was referred to as the Big Sick. Thousands of Chehalis died, and the village was all but abandoned.
/ / /
The new arrivals made themselves at home while the remaining Chehalis found themselves pushed out. In 1855 on behalf of the United States government, Isaac Stevens (1818-1862) asked the Quinault, Queets, Cowlitz, Shoalwater, and Chehalis tribes to cede rights to their land and settle onto a reservation. The "offer" contained a serious caveat that the reservation wasn't guaranteed location on their native land. The Chehalis refused, and were labeled a "non-treaty" tribe, meaning that non-Indian settlers continued claiming Chehalis land, and the Indians received no compensation from the government. The Chehalis were eventually granted a parcel of land in the southeastern corner of what is now Grays Harbor County.
www.historylink.org/File/10723
www.historicalmarkerproject.com/markers/HM1XVA_fort-cheha...
Next, let's see what a real history book says about the relations between settlers and Native Americans at Gray's Harbor:
"ln 1860 the army arrived at Westport in the form of Captain Maurice Maloney, Mrs. Maloney, and 60 troopers from Fort Steilacoom."
"Ostensibly they came to Point Chehalis to protect settlers from local natives, although tribal resistance to white encroachment actually had ended four years earlier in western Wash-ington and two years earlier east of the moun-tains."
"Some speculated that the 'danger' was concocted by Captain Thomas Wright, owner of a steamboat, who wanted to enhance his business. Wright brought the Chehalis River its first stern-whee ler in 1859, the 115-foot, open- hulled Enterprise."
"The previous year he had plied it to great advantage on British Columbia 's Fraser River during the gold rush there. On the Chehalis River, however, he hit snags and shoals and, before the first season was out, tied the vesse l to a tree and went out on foot to Olympia."
"Few actual functions were performed at Fort Chehalis (at the sandy point just ins ide today's Westport harbor ) other than Captain Maloney's attempts to enforce laws against selling liquor to native people."
"In June 1861 troops were ordered East to fight in the Civil War, and the fort fell silent . Settlers bought most of the buildings and moved them to various sites around the harbor."
Source: Exploring Washington's Past: A Road Guide to History. Carmela Alexander and Ruth Kirk. University of Washington Press; 2 edition (December 1, 1995)
books.google.com/books?id=BNAYPXb22sYC&pg=PA461&l...
In conclusion, the Westport Maritime Museum would do its visitors and the surviving Chehalis people a service by removing the reference to "hostile Indians" or posting a label explaining that resistance to White encroachment had ended by the time the fort was established, and that the label on the stove-lid display reflects the ignorant and racist attitudes towards Native Americans at the time the display and the original label were created.
Positioned myself in such a way to get my reflection in the mirror along with the artifact I was snapping.
Shot inside an antiques shop in Commercial Street, Bangalore, India.
In 2320, scientists discover a small multicoloured object on a familiar blue planet. This is not that object.
From this past week's roadtrip up to the Carolinas with some new friends. So great!
--------------------------------------------------
Brenizer/Bokehrama/Expansion
Fuji Xe-1
35mm f/1.4
dated A.H. 577/ A.D. 1181–82
Iran
Bronze; cast, engraved, chased, pierced
Zoomorphic incense burners were popular during the Seljuq period. This lion-shaped example is exceptional for its monumental scale, the refinement of its engraved ornament, and the wealth of information provided by the Arabic calligraphic bands inscribed on its body. These include the names of the patron and the artist, as well as the date of manufacture. The head is removable so that coal and incense could be placed inside, and the body and neck are pierced so that the scented smoke could escape. The lion certainly would have been at home in a palatial setting.
detail shot of a vintage bulb sign at architectural artifacts. this will be among the 1500 lots of items available at the store's auction this weekend.
back cover of encaustic accordian book
Please visit my blog to read about an encaustic workshop I will be teaching in OR this summer involving wax + artist books! bgmartjournal.blogspot.com/2011/01/encausticamp-2011.html
Aztec (Mexica) Gallery, INAH, National Museum of Anthropology, Mexico City. Complete indexed photo collection at WorldHistoryPics.com.
Generally not noticed except as a curiosity, small areas of coal and cinders give evidence of long ago logging activity.
This and nearby rusting steel cable and a bit of railbed are the site of Sunburst Logging Camp 17 near the confluence of Flat Laurel Creek and Pigeon River's West Fork. Pisgah National Forest, Haywood County, North Carolina.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Archäologische Artefakte die in einigen Teilen der Stadt gefunden wurden, weisen darauf hin, dass das Gebiet schon in der Steinzeit bewohnt wurde. Urkundlich nachweisen lässt sich der Ort Dresden ( altsorbische Drežďany für Sumpfbewohner oder Auwaldbewohner ) seit 1206 in der Acta sunt her Dresdene. Es gibt keine Unterlagen über die Verleihung der Stadtrechte an Dresden. Möglicherweise wurden sie durch Wilhelm I im Dezember 1403 verliehen.
1485 wurde die Stadt herzogliche Residenzstadt der sächsischen Herrscher. Nach dem Stadtbrand 1685 wurde Dresden über die nächsten Jahrzehnte wieder aufgebaut und 1732 als 'neue Königliche Stadt' vollendet. Kulturelle Bedeutung erlangte Dresden unter Friedrich August I, der auch unter dem Namen August der Starke bekannt ist. 1918 wurde Dresden Hauptstadt des Freistaates Sachsens.
Seit 1990 wird die im Krieg stark beschädigte und während des DDR Regimes starkt vernachlässigte Innenstadt mit ihren historischen Gebäuden wieder aufgebaut. Unteranderem die Frauenkirche, die im Oktober 2005 wieder eröffnet und geweiht wurde.
Archaeological artifacts have been found in some parts of the town, indicate that the area was inhabited since the Stone Age. Documented evidence can be the place in Dresden 1206 in 'Acta sunt Dresdene'. There is no documentation regarding the award of city status in Dresden. Maybe they were given by William I in December 1403rd
From 1485 Dresden was the ducal town residence of the Saxon sovereign. After the great fire in 1685 Dresden was rebuilt over the next few decades and 1732 as a 'new royal city' completed. Cultural significance Dresden gained under Friedrich August I, who is also known under the name of Augustus the Strong. 1918 Dresden became the capital of the Free State of Saxony.
Since 1990, the badly damaged City in world war II and strong neglected innner city during GDR regime with his historic building, is rebuild again. Among other things, the Frauenkirche, which was reopened in October 2005 and consecrated.
Johannes Heribert Pohl