View allAll Photos Tagged openwork
handdyed 100% fine italian merino wool recycled from a banana republic sweater. very very nice yarn... so nice that all yarn from this sweater will be made to go around the neck. i've been experimenting with cowl/smoke rings. this one is big enough around to be a smoke ring (by some patterns i've been looking at), but i really think that smoke rings of this size make people look like slugs. it's not long enough though... so i don't recommend it even if you really wanted to look like a slug. on the bright side, if you're really hippy you can wear it as a nice big wide headband... i imagine lovely dreadlocks sticking out the back of lace. 1 of 2.
A pretty little hand-painted Herend porcelain box for my collection of boxes. A gift from my mother-in-law.
Revolving vases. A set of two vases, an inner and outer one in the same piece involves a method by which the neck or body is designed so that one of the two vases can spin, hence the term 'revolving vase'. Using the hand to find the mechanism by which to make to rotate. "revolving vases" also often make use of both openwork and interlocking techniques. "Openwork" refers to the method of carving away holes in the surface, while 'interlocking" is the techniques by which the upper and lower parts are joined but not adhered together, but nor are they individual pieces making up separate units, this display features porcelain with outer level openwork allowing for an interesting view of the pattern on the inner vase. Furthermore, the ruyi-cloud pattern formed by the cross-section of the vessel body allows one to realise the special quality of interlocking decoration.
Photographed at the Jordan Schnitzer Museum of Art on the campus of the University of Oregon in Eugene, Oregon.
The Lych Gate is seperately listed: 1872, G E Street. Half-hipped gable of tiled roof, over ogee-topped trefoil arch of 7 timber braces. Trefoil opening at side between buttressed base of each rib, supported on stone plinth with 2 set-offs. Longitudinal tie rib, open to rafters above ribs. Openwork iron cross on west gable.
Crochet tunic made of 100% cotton. On demand, the other colors of thread and composition. Suitable for both the beach and summer wardrobe for every day.
Clockwise, from top left:
BMFA STR Heavyweight in Falcon's Eye for Cable Rib Socks (somewhat modified) (Favorite Socks)
Fiesta Boomerang in Misty Morning for Southwestern Socks (Wendy Knits)
Mountain Colors Weaver's Wool Quarters in Clearwater for Heelless Sleeping Socks (Knitting Vintage Socks)
Chewy Spaghetti Spaghettoni in Frivolous for Openwork Rib Socks (SKS)
A lacemaker demonstrates the art of lace making using the bobbin method at the Kraitchar House (Caldwell Historical Society) during the 2010 Kolache Festival in Caldwell, Texas. Besides being decorated, some of the bobbins used to hold the thread have messages or names written on them.
Lace, a decorative openwork web, was first developed in Europe during the sixteenth century. Two distinct types of lace making—needle lace (crochet) and bobbin lace—began simultaneously. Needle lace is made with a single needle and thread, while bobbin lace entails the plaiting of many threads. Lace thread was typically made from linen, and later silk or metallic gold threads, followed by cotton in the nineteenth century. Needle and bobbin laces were often named after the region or town where they were made. The lace making techniques were brought over to America from Europe. From the 1830's to today, there have been artists in the Texas who are very accomplished lacemakers.
In 1809, Englishman John Heathcoat invented a machine that could make the most tedious element of lace, the mesh ground. By the mid-1800s, machine and handmade laces were often combined into such forms as bobbin appliqué on machine-made net. Later, a variety of patterned machine laces became available. Even so, a demand for handmade lace remained. In the remote parts of the American West, the best way to obtain expensive looking lace was to make it yourself.
Reference: www.sfomuseum.org/exhibitions/lace-sumptuous-history
The vessel is modelled after an archaic bronze pigment container. The body is carved in shallow relief with a band of interlaced kui dragons above shou characters separated by taotie masks on the columnar corners. Two everted stylised ruyi-form handles rise from each side. The cover is surmounted by an openwork coiled dragon supported by four coiled chilong. The stone is of a rich mottled spinach-green tone.
www.christies.com/lotfinder/lot_details.aspx?intObjectID=...
Estimate : GBP 30,000 - GBP 50,000
Christie's
Fine Chinese Ceramics And Works of Art
9 May 2017, London, King Street
Das Goldene Wunder, as the altar is called, measures 5.65x7.4m when fully opened, and contains 36 painted panels & 30 sculptured panels, plus a number of painted panels on the ousides of the closed shutters. It was commissioned in 1521 from Jan Gilleszoon Wrage, sculptor, and Adriaan van Overbeck, painter, of Antwerpen. Here Helena, the mother of emperor Constantine, searches in the Holy Land for the true cross and, in the background, watches its excavation.
Gilded copper and wood openwork crown with images of Ankh and Ibis. Middle Kingdom. Egyptian Museum, Leipzig, Germany. Copyright 2016, James A. Glazier.
A hand-built log barn related to the historic Carter-Swain house. The openwork structure suggests typical local usage for hanging tobacco to dry during the many years when it was the dominant crop in these parts of the mountain south.
Buncombe County, North Carolina, on the National Register of Historic Places.
Published in the book, "Cabins&Castles", 1981 & 2008.
Man in traditional South Moravian costume. rich green vest heavily embroidered with white blouse and felt trousers. Black hat.Member of dance troupe performing on Kampa, Prague in honor of wine festival and new wine. Detail of blouse neckline with embroidery visible. Men's shirts are embroidered, sometimes with elaborate openwork lace sleeves. Vests are heavily embroidered with applique, beads, buttons and fantastic designs in bright colors.
The National Museum of Ireland: Archaeology is the national repository for all archaeological objects found in Ireland and home to over two million artefacts.
The building, designed by Cork architects Thomas Newenham Deane and his son Thomas Manly Deane, is a Dublin architectural landmark.
In the great centre court, a balcony is supported by rows of slender cast-iron columns with elaborate capitals and bases decorated with groups of cherubs. On the balcony, further rows of plain columns and attractive openwork spandrels support the roof.
The museum's purpose is to collect, preserve, promote and exhibit all examples of Ireland’s portable material heritage and natural history.
Interpret and promote the collections and make them accessible to audiences at home and abroad
Be the authoritative voice on the relevant aspects of Irish heritage, culture and natural history.
Exhibitions include the finest collection of prehistoric gold artefacts in western Europe, outstanding examples of metalwork from the Celtic Iron Age and the Museum’s world-renowned collection of medieval ecclesiastical objects and jewellery.
Basket from Northeastern California, Pit River or Hat Creek 1890-1900. Probably Achumawi or Modoc. Tule plain twined over tule cordage warps, design in cattail leaf (brown) with overlay in porcupine quills (yellow-dyed with wolf lichen), section of openwork crossed warps, rim warps are bent over and taken up with the interior wefts. Costo Collection, UC Riverside, Special Collections.
Antique Chinese Oriental Carpet #42561
Antique Peking Carpet, China, early twentieth century - A small openwork medallion is complemented by four see-through vinescroll medallions on this suavely elegant antique Peking. The intervening ground is entirely filled by a fine mesh of tint flowers that function virtually as no more a textured brocade, approaching the effect of an open field. The vinescroll border utilizes the same coloration and design as the cornerpieces, imparting a remarkable design unity or consistency to the overall effect of the carpet.
Top: Maitreya Cupio-Color Top * Blueberry (Mesh) /NEW
Jeans: Maitreya Mesh Flare jeans * #5 /NEW
Bag: R.icielli – THE MESSENGER bag /thepython
Belt: {mon tissu} Seneca Threaded Leather Belt ~ Burnished
Heels: {mon tissu} Openwork Wedges ~ Navy /NEW
Hair: Maitreya Siobhan (Mesh) – Almond /NEW
Skin: -Glam Affair- Leah MedTan – Spring Breeze /TDR
Pose: (by Kraft) Fashion Princesses – Pocahontas
A Greenish-White Jade Carving of a Lady
18th-19th Century
The standing lady is well carved holding a gnarled stem bearing two peaches in her right hand and with an openwork sash flowing around her shoulders. A deer holding a lingzhi fungus in its mouth stands at her left side. The stone is an even, pale greenish-white color with some small russet areas on the reverse.
22 cm high
www.christies.com/lotfinder/lot_details.aspx?intObjectID=...
Estimate : USD 12,000 - USD 15,000
Price realised : USD 21,250
Christie's
Fine Chinese Ceramics and Works of Art
17 March 2017, New York
The Heziloleuchter (Hezilo chandelier) is a Romanesque wheel chandelier created in the 11th century. It is composed of a circular hoop which is 6 meters (20 ft) in diameter. The hoop is made of gilt copper and bears Latin inscriptions on the upper and lower edges. Between the inscriptions are three horizontal bands, with the middle band bulging outward, which are richly decorated with openwork foliage. There are square merlons on top of the hoop holding seventy-two candles. Twelve towers and twelve gate-houses alternate along the outside of the hoop.
The Mariendom (St. Mary's Cathedral) was built between 1010 and 1020 in the Romanesque style. It follows a symmetrical plan with two apses that is characteristic of Ottonian Romanesque architecture in the Saxon domain.
The cathedral was renovated and extended between the 11th and 14th centuries. It was almost completely destroyed during an air raid on 22 March 1945; only the westwork and the outer walls survived. The cathedral was rebuilt from 1950 to 1960. A thorough renovation of the cathedral took place 2010-2014.
The cathedral's treasures include world-famous artworks, such as the bronze Bernward Doors and the Bernward Column. It also contains two of the four extant Romanesque wheel chandeliers, the Hezilo chandelier and the Azelin chandelier.
New Pattern "Colored Flowers" - more info here:
www.loveknitting.com/us/colored-flowers-knitting-pattern-...
"As indicated by the coat of arms on the case, this finely carved crosier once belonged to Giovanni Benci Carrucci Aldobrandini, bishop of Gubbio (Umbria, central Italy) between 1370 and 1375. The volute is decorated with an openwork representation of the Adoration of the Magi, and inscribed on both sides with a portion of the Collect for the Epiphany. The half-length figures of Christ and prophets in foliate shoots are also found in other Venetian crosiers dating from the same period.
The name crozier is commonly used for the crook-shaped pastoral staff of a bishop or abbot. It forms part of their insignia. It was carried as a symbol of authority and pastoral care. It was made of various materials, but by the twelfth century ivory was in widespread use for the head of the crozier. The shaft was often made of wood, occasionally embellished with metal knops, although on Italian Gothic examples, ivory and bone cylinders were used in construction. French Gothic ivory crozier heads are predominantly of one design, with the Crucifixion and the Virgin and St John on one side and the Virgin and Child, flanked by candle-bearing angels, on the other. It appears that the principal face was that to be seen when the volute of the crozier was facing to the right. The volute, which issues from the mouth of a dragon, is surmounted by half-length figures of Christ between David (?) and Salomon. It encloses an openwork representation of the Adoration of the Magi with the star and firmament above and is decorated with an inscription, a portion of the Collect for the Epiphany. The knop, made up of four plaques, is carved on each face with a writing Evangelist seated beneath a trefoil arch. Four foliate shoots and additional prophets are now missing around the lower part of the volute: three ivory pegs remain.
The stem, divided into four sections that screw together, is painted with dragons, birds, and faded leafy stems, and with designs including crosses, quatrefoils and foliate designs: these are all of gold with red and black outlines. From the top these four sections consist of three, four, three and two cylinders respectively, the last section terminating in a turned ivory foot with a brass tip (both later).
The cuir bouilli case is decorated with various animals amid leafy scrolls and with the arms of the Aldobrandini family. The interior is divided into five compartments, a central one for the head of the crozier and four circular ones for the sections of the staff. The central parts of each side consist of foliate shoots in which are three creatures: on one side mythical beasts (a unicorn and two dragons) and on the other a deer, a hare and a wild boar. Above these on both sides are the arms of the Aldobrandini, here uncoloured but clearly identifiable: a bend counter-embattled between six mullets ranged in orle. The cover of the case continues the leaf designs of the lower part, but on the side with the animals has a panel with an eagle, its head turned back. The top surface has a third Aldobrandini coat-of-arms with, above it, a mitre with lappets and a foliate crozier, indicating that the owner was an Aldobrandini bishop. george salting Bequest The heads of Christ and Solomon and the two foliate shoots are either late-nineteenth-century replacements or were broken before 1880 and subsequently restored.
Four foliate shoots and additional prophets are missing around the lower part of the volute, and three ivory pegs remain.
Formerly in the Museo Civico, Volterra; sold with other ivory carvings from the Museo, 2 December 1880, in Florence. Then Frederic Spitzer collection, Paris, by 1890. Sold at Spitzer sale, Paris, (25 April 1893, lot 125). Then George Salting collection. Bequeathed to the V&A by Salting, 1910.
Historical significance: The coat of arms on the case identifies the crosier as having belonged to Giovanni Benci Carrucci Aldobrandini, bishop of Gubbio (Umbria, central Italy) between 1370 and 1375. Venetian elements such as the half-length figures of Christ and prophets in foliate shoots also feature in other crosiers, such as those in the Museo Nazionale del Bargello, Florence, The Walters Art Gallery, Baltimore and in a private collection, New York. The figure style and painting of these crosiers is close to that of the Venetian triptych with the Coronation of the Virgin, datable to 1360-70 (V&A, 143-1866). " V and A collection website.
Elegant and down-to-earth at the same time, this gold vermeil openwork charm and coin pearl necklace is sure to become an instant favorite in your jewelry collection.
Suspended from the 14k gold filled cable chain is a 14x20mm silky white coin pearl and 12x15mm round leaf/tree charm. A bead-flanked lobster clasp completes the design.
The Church of St John the Baptist in Yeovil, Somerset, England was built in the late 14th century and has been designated as a Grade I listed building.
The tower, which was built around 1480, is 92 feet (28 m) high, in four stages with set-back offset corner buttresses. It is thought that the work was supervised by William Wynford, master mason of Wells. To meet the growing size of Yeovil and the increased population, work on Holy Trinity Church began on 24 June 1843 to relieve the pressures on St John's. In 1863, pressures on space in the graveyard were alleviated by the opening of Preston Road cemetery.
The church is capped by openwork balustrading matching the parapets which are from the 19th century, when major reconstruction work was undertaken from 1851 to 1860. The tower has two-light late 14th century windows on all sides at bell-ringing and bell-chamber levels, the latter having fine pierced stonework grilles. There is a stair turret to the north-west corner, with a weather vane termination. Among the fourteen bells are two dating from 1728 and made by Thomas Bilbie of the Bilbie family in Chew Stoke. Another from the same date, the "Great Bell", was recast in 2013, from 4,502 pounds (2,042 kg; 321.6 st) to 4,992 lb (2,264 kg; 356.6 st).
Because of the state of some of the external masonry the church has been added to the Heritage at Risk Register.
In the Church of St John the Baptist, Yeovil one stained glass window depicts Judas with a black halo.
Unusually, the stained glass windows include a depiction of a lone Judas Iscariot with a dark halo. Inside the church is a brass reading desk originally made in East Anglia.
The parish is part of a benefice with St Andrew with the Diocese of Bath and Wells.
Silver gilt openwork belt buckle and fittings with floral and arrowhead scrollwork. Roman Imperial jewelry, 3rd Century AD - 4th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
Built in 1896/97, the architect was Ewan Harper. His openwork spire is very much a local landmark and icon. Following the discovery of dry rot, the church closed for worship in 2009 when the congregation joined with the Parish Church of St Luke's to form a Local Ecumenical Partnership known as The Bridge Church. (See previous postings)
In 2014 the building was sold and is now subject to a planning application to demolish and replace it with a residential development. It is hoped that a campaign, led by the Victorian Society, will be able to save the tower and/or the spire.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
April, 1990.
Original photograph © Kenneth Mantock, scanned and curated for Bournemouth Civic Society.
Listed Grade II on 27th February, 1976: "Edwardian villa in style derived from Voysey circa l9O5, probably by Joseph Brewerton, 2 storeys, roughcast, timber mullions. Almost symmetrical garden front centre with 2 rectangular ground floor bay windows, with moulded cornices to flat roofs, on either side of verandah with 5 openwork trellis arches (round-headed except for wide flattened centre). Flanking gables, that to left carried down low. East side has entrance in an arched trellis porch with sidepieces, with 2 oriels above, 1 curved, 1 rectangular; asymmetrical gable. Tapering chimneys with projecting cornices, tiled roof."
A Bronze Two-Part Belt Buckle with Tiger and Raptor
3rd-2nd Century BC
Both plaques are cast in openwork as a raptor and a tiger attacking each other. The raptor is wildly flapping its wings and tail while biting the neck of the tiger which has the leg of the raptor grasped in its jaws. One plaque has a tab-like hook at one end.
12.1 cm wide, box
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Estimate : USD 4,000 - USD 6,000
Price realised : USD 27,500
Christie's
The Harris Collection : Important Early Chinese Art
16 March 2017, New York
Gold, silver, pearl, amethyst, sapphire, glass, quartz, emerald plasma
Byzantine
Made in probably Constantinople
6th–7th century
These elaborately decorated bracelets have richly jeweled exteriors and finely detailed opus interrasile (openwork) patterns on their interiors. The luminous beauty of pearls was highly prized in the Byzantine world. These bracelets are only two of thirty-four pieces of gold jewelry from Egypt said to have been found near Lycopolis (now Assiut) or Antinoopolis (Antinoe, now Sheik Ibada) in Egypt at the turn of the century. Whether discovered together, or later assembled, they represent the standard of luxury common among the elite in Egypt during the period of Byzantine rule and the close connections between the wealthy province and the capital in Constantinople. Multicolored, or polychrome, jewelry was very popular in the Early Byzantine world.