View allAll Photos Tagged firescreen
Robert Campin, auch Meister von Flémalle genannt (Valenciennes 1378/79 - Tournai 1444/45) oder ein Nachfolger
Maria mit dem Kind am Kamin (ca. 1440)
National Gallery, London
The Virgin is seated on a wooden bench in front of a large wicker firescreen, the shape of which suggests a halo, and appears to have been nursing the infant Christ. She is shown as the Queen of Heaven in her palace. Her richly ornamented dress, precious book, the cushions and the inlaid floor are all evocative of extraordinary splendour. By contrast, her child is shown naked, as if to emphasise his humanity.
The painting underwent a major restoration in the 19th century. A broad strip on the right and a narrow strip at the top were added. The cupboard on the right, on which a chalice is placed, is unlikely to be an accurate reflection of the original composition.
The view through the window is a feature of early Netherlandish painting. All its realistic details are not easily visible to the naked eye. They include a row of shops, horsemen, and men with a ladder fighting a fire.
Source: National Gallery, London
Louis Comfort Tiffany, 1848-1933
Henry O. Havemeyer House, Entrance Hall
U of M Museum of Art
Ann Arbor, MI USA
This delicate firescreen, composed of different colors and shapes of glass set in a filigree metal armature, is one of Tiffany's most astonishing creations. Placed before the fireplace in the entry hall of the house (just below the Peacock Mosaic), this piece would have been backlit whenever the fireplace was operating.
This translucent firescreen would have been a handsome complement to the decor of the foyer and would have been a rich foil to the mosaics that occupied the upper portion of the room.
Source: scan of an original print.
Image: P50707.
Date: © 1988 SBC.
Repository: Local Studies at Swindon Central Library.
www.swindon.gov.uk/localstudies
The mural was painted onto a firescreen.
Funded by Manpower Services Commission, Sainsbury's, Southern Arts Association, Thamesdown Borough Council.
Source: Thamesdown Art Trails leaflet 1989.
Source: scan of an original print.
Image: P50706.
Date: © 1988 SBC.
Repository: Local Studies at Swindon Central Library.
www.swindon.gov.uk/localstudies
The mural was painted onto a firescreen.
Funded by Manpower Services Commission, Sainsbury's, Southern Arts Association, Thamesdown Borough Council.
Source: Thamesdown Art Trails leaflet 1989.
SCE_5436
Waddesdon Manor, Oxfordshire.
Visit to Waddesdon Manor (HP18 0JH) in September 2015. Usual National Trust stately home but with some problems for the photographer. Inside light very low (to protect furnishings etc.) and often very yellow. Lot of work to get some reasonable shots to put here.
Nice grounds and worth a visit. Exotic bird aviary, modern sculptures and older statutes to look at. Good cafe and restaurant but can get very crowded.
Shooting photographs through black wire mesh is never easy.
Would recommend.
More general photographs at www.flickr.com/photos/staneastwood/sets
Source: Scan of a print.
Image: P50704.
Date: © 1988 SBC.
Repository: Local Studies at Swindon Central Library.
www.swindon.gov.uk/localstudies
The structure that the mural was painted onto was a firescreen. Funded by Manpower Services Commission, Sainsbury's, Southern Arts Association, Thamesdown Borough Council.
Source: Thamesdown Art Trails leaflet 1989.
Rear view of a 1925 fire screen by metalsmith Edgar Brandt, on display as part of the "Jazz Age" exhibit at the Cleveland Museum of Art in Cleveland, Ohio, in the United States.
Brandt (1880-1960) was a French metalworker who lived in Paris. This fire screen, made of gilded wrought iron, depicts a stylized image of American dancer Isidora Duncan. The floral background is based on a style seen in Vienna in the 1910s. It was updated into an Art Nouveau style.
Art Nouveau was a style of art popular between 1890 and 1910. It was a reaction to the academism, Beaux-Arts, Neoclassicism, and Romanticism of the 19th century. Art Nouveau emphasized natural forms, particularly the curved lines of plants and flowers. Art Nouveau fell out of style by 1910, replaced by Art Deco and then Modernism.
#CMAJazzAge
SCE_5434
Waddesdon Manor, Oxfordshire.
Visit to Waddesdon Manor (HP18 0JH) in September 2015. Usual National Trust stately home but with some problems for the photographer. Inside light very low (to protect furnishings etc.) and often very yellow. Lot of work to get some reasonable shots to put here.
Nice grounds and worth a visit. Exotic bird aviary, modern sculptures and older statutes to look at. Good cafe and restaurant but can get very crowded.
Shooting photographs through black wire mesh is never easy.
Would recommend.
More general photographs at www.flickr.com/photos/staneastwood/sets
A 1925 fire screen by metalsmith Edgar Brandt, on display as part of the "Jazz Age" exhibit at the Cleveland Museum of Art in Cleveland, Ohio, in the United States.
Brandt (1880-1960) was a French metalworker who lived in Paris. This fire screen, made of gilded wrought iron, depicts a stylized image of American dancer Isidora Duncan. The floral background is based on a style seen in Vienna in the 1910s. It was updated into an Art Nouveau style.
Art Nouveau was a style of art popular between 1890 and 1910. It was a reaction to the academism, Beaux-Arts, Neoclassicism, and Romanticism of the 19th century. Art Nouveau emphasized natural forms, particularly the curved lines of plants and flowers. Art Nouveau fell out of style by 1910, replaced by Art Deco and then Modernism.
#CMAJazzAge
The large Marine Mosaic windows flanking the chancel are outstanding examples of the unusual craftsmanship of William [sic.] Cole Brigham, a local artist, whose rich effects were achieved by the adroit use of natural shells, stones and chunks of broken glass. Stained glass was rarely used. After sketching his design on paper, the artist placed it under heavy plate glass on which the pieces of mosaic were then painstakingly assembled and cemented together with a special lead compound.
The memorial to Frederick A. Schroeder, a prominent Brooklyn banker and longtime president of the S.I. Heights Association, commemorates “a good and faithful servant.” The mosaic vividly illustrates Jesus’ parable of the talents. Pure white shells at the top of the window, symbolize in groups of five, two and one, the coins entrusted by a master to his three servants. Golden shells at the bottom of the window represent the talents returned, namely, ten and four … as well as the one which was buried in the earth by the unfaithful servant.
The theme of the second window, a memorial to the Schroeder children, is the everlasting goodness of God. It is a study of water lilies “as seen through a depth of a clear pool of water in which is reflected in soft tones the bordering land.” Oyster shells are strikingly employed to give the lily blossoms their bold form and their soft, mellow whiteness. A cross in the peak of the window contains the letters S P E S; the Latin word for hope. The Greek letters Alpha and Omega on either side signify hope from beginning to end.
THE ARTIST
Walter Cole Brigham was born in Baltimore on January 11, 1870. After studying at Johns Hopkins University and the Maryland Institute of Art, he spent four years (1894-1898) at the Art Student’s League in New York and a year in Florence, Italy. Then he came to Shelter Island where his parents had a cottage on Winthrop Road and set up his studio, which also became both an informal art school and an impromptu tea room. It was here on the shores of Dering Harbor that his interest in painting and architecture succumbed to a fascination for seashells and textured stones.
His first marine mosaics took the form of decorative lampshades, firescreens and jewelry, but by 1901, he fashioned mosaic portholes for a yacht belonging to a famous actor, William Gillette. More ambitious projects followed. During the next fifteen years, he made the two windows for Union Chapel (installed 1903), four somewhat smaller windows for St. Mary’s Episcopal Church (1903-1911), of which three were subsequently damaged by storm in 1938 and discarded, and two windows for a chapel in Brooklyn (1912-1915), of which one is now mounted in the Brooklyn Museum. He also made in 1914 a staircase window for a summer cottage near Sag Harbor. Two of his “ecclesiastical tablets”, circa 1906, consisting of Scriptures verses embellished by shells and wood stems mounted on quartered oak panels, hang in St. Mary’s Church.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
Emile Gallé (1846-1904) French glass and furniture maker, born and died in Nancy, France, was one of major artists in the French Art Nouveau movement. He was, however, primarily known for his glass creations. The fire screen at the Virginia Museum of Fine Arts in Richmond, dating from circa 1900, is made of maple, leather and glass; the leather was created by M. Melchoir (dates unknown). The peacock motif in this fire screen is a very common one in the Art Nouveau movement. For a visual experience use Google image search for the following: “art nouveau” peacock.
The Wikipedia biography is located at
en.wikipedia.org/wiki/%C3%89mile_Gall%C3%A9
Information on his furniture creations can be found at
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
A room for the guards was always located next to the royal bedchambers. The Salle des Gardes was built during the reign of Charles IX. Some traces of the original decor remain from the 1570s, including the vaulted ceiling and a frieze of military trophies attributed to Ruggiero d'Ruggieri. In the 19th century Louis Philippe turned the room into a salon and redecorated it with a new parquet floor of exotic woods echoing the design of the ceiling, and a monumental fireplace (1836), which incorporates pieces of ornament from demolished rooms from 15th and early 16th century. The bust of Henry IV, attributed to Mathieu Jacquet, is from that period, as are the two figures on either side of the fireplace. The sculpted frame around the bust, by Pierre Bontemps, was originally in the bedchamber of Henry II. The decorations added by Louis Philippe include a large vase decorated with Renaissance themes, made by the Sèvres porcelain manufactory in 1832. During the reign of Napoleon III, the hall was used as a dining room.
Mantle with firescreen, table with vignettes, and flower pot with sign saying "Bloom where you're Planted".
The spectacular Great Bedchamber wasn’t for sleeping in but for the King to be dressed in public. In the Great Bedchamber the king might receive senior courtiers and ministers while dressing, a French royal custom, known as the levée. The King was attended by Gentlemen of the Bedchamber in this room, which is appropriately one of the most sumptuous in the Palace.
The Great Bedchamber was William III’s inner sanctum; access was strictly controlled by the Groom of the Stool. Those privileged to attend while the king was dressed were kept at a suitable distance behind a gilded rail.
Barometer
A free standing, portable barometer made c.1695-1705 contained in an ivory tapering tube with a screw-type portable cistern on a stand supported by four gilt bronze male terms. The dial at the top in three stages with inscriptions in English and French and in engraved gilt brass frames. Traces of the Royal Monogram “ЯWR” on each side.
•Provenance: Acquired by William III c. 1700. Daniel Quare made several clocks, watches and barometers for William III. He was a clockmaker and instrument maker who invented a repeating watch movement in 1680 and a portable barometer in 1695. He was a Quaker, born in Somerset c.1647, who became a Brother in the Clockmakers’ Company in London in 1671 and Master of the Company in 1708. Quare was offered but declined the Royal Warrant as a practicing Quaker he was unable to sign an oath of allegiance. Notwithstanding he was “free of the back stairs” at royal residences.
•People Involved:
oCreator(s): Daniel Quare (1649?-1724) (manufacturer); English (nationality)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties:
oMedium and Techniques: Ivory, gilt metal, glass
ivory; animal materials; bronze; brass; glass (material)
turned; gilded; cast; engraved (incised)
oMeasurements: 95.0 × 11.0 cm (whole object)
Candlestand
Each with circular top with gadrooned edge, on a central tripartite shaft carved with scrolls, foliate and husks, the whole of the central shaft on three scrolled legs. The Pelletier family of carvers and gilders were of French origin and by 1682, Jean Pelletier had arrived in London. His workshop also comprised his two sons, Thomas and Rene. It was in all likelihood due to the patronage of the francophile Master of the Great Wardrobe, Ralph, Duke of Montagu, that the Pelletier family came to enjoy royal patronage. The candlestands, or torcheres, form part of the commission to furnish the King’s Apartments at Hampton Court Palace that Montagu obtained for Jean Pelletier. Between 1699 and 1702, furniture costing nearly £600 was delivered. A warrant dated October 25, 1701 included a quantity of tables and stands for “ye Drawing Room, Privy Chamber, Eating Room, Gallery, &c., at Hampton Court”, comprising “six pair of large stands at £30 p. pair”, ten of which survive [RCIN 1002.1-8 & RCIN 1015.1-2]. Within this set, one pair is of very slightly lesser quality in their carved detail [RCIN 1015]. A further four candlestands of more elaborate design were also supplied [RCIN 57029].
•Provenance: Supplied to William III, October 25, 1701; for the State Apartments, Hampton Court Palace.
•People Involved:
oCreator(s): Jean Pelletier (active c.1681-d. 1705) (furniture maker); English (nationality)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties
oMedium and Techniques: Carved and gilded oak and lime wood
oak; limewood
carved; gilded
oMeasurements: 154.0 × 57.5 × 50.5 cm (whole object)
Fireback
Square fireback with arched crest. Central scene depicts a nude with a putto embracing a warrior in armor (Venus & Adonis?) with a dog. Surrounded by a thick border of fruit, flowers and shells, topped by a crown flanked by two dolphins.
•People Involved:
oCreator(s): English (nationality)
•Physical Properties:
oMedium and Techniques:
iron
cast
oMeasurements: 118.0 × 84.0 cm (whole object)
Pair of Firedogs
Pair of baluster-shaped, silver plated firedogs.
•People Involved:
oCreator(s): English (nationality)
•Physical Properties:
oMedium and Techniques:
metal
cast; silver plated
oMeasurements: 46.5 × 32.5 cm (whole object)
Fire Screen
A cheval firescreen on a gilded wood swivel stand with a carcase of oak. The upright rectangular frame has a panel of crimson velvet and silver galon borders. Pierced carved cresting with, in the center on either side, male and female masks flanked by foliate scrolling. The baluster shaped supports are surmounted by pineapple motifs and carved with floral and foliate motifs. The border at the base of the screen is also pierced and incorporates H-motifs and eagle heads. All mounted on square blocks decorated with pateræ and square section reeded s-scroll tripod feet.
•Provenance: R. Macquoid & R. Edwards in The Dictionary of English Furniture, London, 1927, vol. III, pp. 67 & 71 suggest that the fire screen is “strongly imbued with French influence”. Edwards & Jourdain suggest that the screen was made by John (Jean) Pelletier, a Huguenot French immigrant craftsman (Georgian Cabinet-Makers, London, 1944, p. 16 & fig. 4). Made c.1695-1705 and supplied to William III, c.1700, for Hampton Court Palace.
•People Involved:
oCreator(s): English (nationality)
Attributed to: Jean Pelletier (active c.1681-d. 1705) (furniture maker)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties:
oMedium and Techniques: Carved and pierced giltwood, with velvet and woven silver (galon)
oak; velvet; metal
carved; pierced; gilded; woven (silver)
oMeasurements: 141.0 × 110.0 × 34.5 cm (whole object)
St Elizabeth of Hungary and St Dorothea by George Frampton 1895 Given by Alice Dorothea Henderson in 1954.
This firescreen was commissioned in 1895 by Alice Radcliffe a wealthy art lover based in London. When she died her collection was inherited by Alice Dorothea Henderson, a bath resident. She left it to the Victoria Art Gallery in 1954., in one of the most important bequests ever made in Bath. Alongside St Dorothea, the patron saint of florists, the screen depicts St Elizabeth of Hungary, George Frampton was a leading figure in the Art and Crafts Movement and a member of the Art Workers Guild.
Austin hosted its annual Museum Day on Sunday, September 18, 2016. Mike and I took advantage of the opportunity to enjoy free admission to several museums and historic homes. Our third stop was the Neill-Cochran House Museum (2310 San Gabriel St.).
In 1855, Washington and Mary Hill commissioned master builder Abner Cook to construct a Greek-Revival-style house northwest of downtown Austin. The Hills never lived in the house; its current name refers to two families who lived here after the Hills built it. Colonel Andrew and Jennie Chapman Neill purchased the house in 1876, and it was later sold to Judge Thomas and Bessie Rose Cochran in the 1890s. It was subsequently acquired by the National Society of Colonial Dames in the State of Texas in 1958 and converted into a museum.
Today, the first floor reflects the Neills' occupancy during the Victorian era, while the second floor reflects the Cochrans' residency. Here, you can see a view of the home's Double Parlor. This shot was taken from the rear parlor, though the front parlor is partially visible in the background on the right. Two men in Civil War uniforms educated visitors about the medical equipment on display. A brochure provided a few details on this room and its furnishings:
Double Parlor
The double parlor was a common feature of American homes during the Victorian era. Typically, the more formal parlor was in the front, and a more casual back parlor connected to it but could be closed off via pocket doors. This house is unusual for not having pocket doors -- the rubble limestone design of the structure makes pocket doors impossible. Instead, the house features large hinged doors.
The furnishings of these rooms are eclectic, mirroring the eclecticism of the Victorian era. Furnishings include:
Mahogany secretaries (c. 1790–1820).
Hepplewhite/Federal oval gilded and carved mirrors (c. 1800). The mirrors feature delicate gilt leaf and flower designs.
Miniature fall-front chest (c. 1800). Rosewood, with ivory and tortoiseshell inlay.
Mahogany stick barometer (c. 1830). Features intricate Amboyna wood inlay.
Melodeon (c. 1860). This American invention is based on the design of a pump organ and has cast-iron knees and legs. Melodeons were extremely popular during the mid-19th century.
Firescreen (c. 1845). Made of rosewood with needlepoint movable screen.
Empire-style mahogany sofa (c. 1820–1850). Vernacular craftsmanship with carved swan motif.
Portrait of George Malcolm Miller (c. 1910). Portrait by Ailsie Miller. George Miller died of typhoid fever at age 9.
Fireplace screen on display as part of the "Jazz Age" exhibit at the Cleveland Museum of Art in Cleveland, Ohio, in the United States.
Samuel Yellin (1884-1940) was born into a Jewish family in Mohyliv-Podilskyi in the Russian Empire (now Ukraine). From age 11 to 16, he was an ironsmith's apprentice. He left Ukraine at the age of 17 and traveled through Europe. By 1905, his mother, two sisters, and a brother were living in Philadelphia, and he moved there to join them. He took classes at the Philadelphia Museum School of Industrial Art, and within months had been hired as a teacher. He opened his own shop in 1906, and moved to a specially designed larger studio in 1915. During the 1920s, his shop employed as many as 250 workers, many of them European artisans. Yellin himself preferred Renaissance and Medieval designs.
This wrought iron fireplace screen, made between 1920 and 1925, is of Renaissance Revival design and was made for his own home.
#CMAJazzAge
The above picture shows Canterbury Cathedral's Dark Entry as on a " Normill " print [ serial 2220 ] of circa the 1920s by the artist Sidney Barrett .
" A Normill labelled print indicates manufacture by the printing firm of W. Haigh & Sons of Southall, London , by whom the above picture was printed and framed circa the 1920s.
Their printing process was Colotype , which they used for reproductions of oil paintings , watercolours or pen and ink drawings . In 1922 the firm was at " Norwood Mill, Southall, Middlesex ". Telephone: Southall 1125. Cables: "Haigh, Southall" .
It was listed as an Exhibitor at the 1922 British Industries Fair as a Manufacturer of Pictures it variously framed - offering Gilt , Polished and Oak Framed choices . It also offered Photo Frames of different sizes; Fire Screens, Wood Frames, draped and paper finish. It occupied Stand No. D.63a.
In 1947 Haigh & Sons was a Listed Exhibitor at the British Industries Fair held at Olympia where it stood as a manufacturer of "Normill" Series Framed Pictures, Coloured Prints, Calendars, Picture Mouldings, Photo Frames, Firescreens, Work Tables, Work Boxes, Draught Screens, Tea Trays and Mirrors. (Olympia, 1st Floor, Stand No. G.2073)
When I left for school at noon today it was 70 degrees F, when I got home at 4:30pm it was 49 degrees F, now, just after midnight it is 35 degrees. Brrr. And it is (finally) raining. I still have my shorts on, but I am no longer wearing the flip flops. Silly me didn't even wear a jacket to school... I was very cold by the time I came home!
Please note the cat socks by S. Burch... I dig them.
~1860-70, japanned wood, maker unknown
-------------
exhibition till 26 March, 2017
Thu 12-4
Fri 12-4
Sat 12-4
Sun-Tue closed