View allAll Photos Tagged openwork
In Los Angeles on April 21st, 2019, outside "Kids Dental Kare" in a 1959 building on the west side of North Vermont Avenue, opposite Vermont Place.
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Getty Thesaurus of Geographic Names terms:
• Los Angeles (7023900)
• Los Angeles (county) (1002608)
Art & Architecture Thesaurus terms:
• architectural ornament (300378995)
• Mid-Century Modernist (300343610)
• dental clinics (300006666)
• geometric patterns (300165213)
• Mid-Century Modernist (300343610)
• openwork (300253899)
• squares (geometric figures) (300055637)
Wikidata items:
• 21 April 2019 (Q57350053)
• 1950s in architecture (Q11185577)
• 1959 in architecture (Q2812227)
• April 21 (Q2525)
• April 2019 (Q47087596)
• East Hollywood (Q5328620)
• Southern California (Q844837)
• Vermont Avenue (Q7921683)
Library of Congress Subject Headings:
• Concrete walls (sh85030747)
• Grids (Crisscross patterns) (sh2006005408)
Wholesale Seductive Style Openwork Transparent Lace Voile T-Back For Women (RED), Panties – Rosewholesale.com
Source by boogirl
bestsexylingerie.ga/wholesale-seductive-style-openwork-tr...
Amulet holder
late 19th–early 20th century
Central Asia or Iran , Teke
Silver, fire-gilded and chased, with decorative wire, ram’s-head terminals, openwork, slightly domed cabochon and table-cut carnelians, turquoise beads, wire chains, and spherical bells
14 x 12 5/8 in. (35.6 x 32.1 cm)
Gift of Marshall and Marilyn R. Wolf 2005.443.9
Pablo Gargallo (Marvella 1881 – Reus 1934) is a Spanish sculptor and painter. Gargallo developed, under the influence of the work of Julio González a sculptural style, where a three-dimensional object was created from pieces of cardboard or sheet metal. Some of these objects can all be counted among the minimalism or Primitivism, as well as to the Cubism and expressionism. Important in this context is his discovery of the hollow shape in witch convex volumes are replaced by concave. The pinnacle of that constant search for new forms of expressions, is achieved in the scullpture ' The Prophet '. The sharp sculpture that seems consumed by asceticism and passion, is strongly defined by the openwork forms and volumes.
Title of the work: The Prophet.
More about this work: www.middelheimmuseum.be/en/page/pablo-gargallo-spain
This work of art can be admired at the Middelheim open air museum at Antwerp: www.middelheimmuseum.be/en
Pablo Gargallo (Marvella 1881-Reus 1934) is een Spaanse beeldhouwer en schilder. Gargallo ontwikkelde, onder invloed van het werk van Julio González, een sculpturale stijl, waarin een driedimensionaal object is gemaakt van stukjes karton of plaatwerk. Sommige van deze objecten kunnen allemaal worden gecatalogeerd onder het minimalisme of primitivisme, andere onder het kubisme en het expressionisme. Belangrijk in dit verband is zijn ontdekking van de holle vorm waarbij convexe volumes worden vervangen door concave volumes. Het hoogtepunt van die constante zoektocht naar nieuwe vormen van expressie, wordt bereikt in het beeldhouwwerk 'De profeet'. Het scherpe beeld dat lijkt verteerd door ascese en passie, wordt sterk gedefinieerd door de opengewerkte vormen en volumes.
Meer over dit werk vind je hier: www.middelheimmuseum.be/nl/pagina/pablo-gargallo-spanje
Dit werk kan bewonderd worden in het openlucht museum Middelheim in Antwerpen: www.middelheimmuseum.be/nl
Pablo Gargallo (Marvella 1881-Reus 1934) est un sculpteur et peintre espagnol. Influencé par le travail de Julio González, Gargallo a développé un style sculptural dans lequel un objet tridimensionnel est fabriqué à partir de morceaux de carton ou de tôle. Certains de ces objets peuvent être classés dans les catégories Minimalisme ou Primitivisme, d'autres dans les catégories Cubisme et Expressionnisme. Dans ce contexte, sa découverte de la forme concave, dans laquelle les volumes convexes sont remplacés par des volumes concaves, est importante. Le point culminant de cette recherche constante de nouvelles formes d'expression est atteint dans la sculpture "Le Prophète". L'image nette, qui semble être consumée par l'ascétisme et la passion, est fortement définie par les formes et les volumes ajourés.
Titre de l'œuvre: Le Prophète
Plus sur cette oeuvre: www.middelheimmuseum.be/fr/page/pablo-gargallo-espagne
Cette œuvre peut être admirée au musée en plein air Middelheim à Anvers: www.middelheimmuseum.be/fr
Late C13 crossing and south transept; late C15 nave, tower and north transept; chancel and restoration, 1852-65, by E.Christian. Ashlar with lead roofs. Cruciform plan: 4-bay apsed chancel, crossing tower and 6-bay aisled nave, 2-storey south porch and 2-storey vestry to north. 4-bay chancel and 7-bay apse, in Decorated style, articulated by offset buttresses with crocketed gables and gargoyles to cornice below openwork parapet, has 2-light windows to apse and 3-light windows with flowing tracery to chancel. 3-stage tower has north-east stair turret, panels with quinquefoil heads and quatrefoil friezes and embattled parapet with crocketed pinnacles; 2-light windows to 2nd stage, paired 2-light bell openings to top stage. North transept has offset buttresses, embattled parapet and C17 round-headed windows to north and east with large central mullion. South transept has angle buttresses and embattled parapet, 5-light east window, and 3-light south window with 3 two-light square-headed transomed clerestory windows above and 2 to west, all with Perpendicular tracery. North aisle has 3-light windows with segmental- pointed heads and Perpendicular tracery between buttresses, embattled parapet. South aisle similar, with 4-light windows. Vestry has embattled parapet and varied square-headed windows of one, 2 or 3 lights. 2-storey porch has angle buttresses and panelled embattled parapet with pinnacles, entrance with moulded arch, sundial above, 2-light square-headed window to 1st floor. West facade has entrance of 2 orders under crocketed ogee hood, enriched cornice and 4-light Decorated window also under crocketed ogee hood; panelled buttresses and gabled aisles, 3-light window to north and 4-light window to south. Clerestory has paired Perpendicular 2-light square-headed transomed windows and panelled embattled parapet. EH Listing
I used to believe it was made of genuine gold.
According to G. Streetview the bldg was demolished sometime between October 2008 and June 2011. Goodbye!
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In downtown Canton, Ohio, on July 23rd, 2008, a building at the southwest corner of Tuscarawas Street East (Ohio State Route 172, the Lincoln Highway) and Walnut Street Southeast (Ohio State Route 43).
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Getty Thesaurus of Geographic Names terms:
• Canton (7013537)
• Stark (county) (1002917)
Art & Architecture Thesaurus terms:
• arches (300000994)
• canopies (structural elements) (300069732)
• commercial buildings (300005147)
• grilles (barrier elements) (300002015)
• Mid-Century Modernist (300343610)
Wikidata items:
• 23 July 2008 (Q19617966)
• Akron-Canton (Q4701657)
• destroyed building or structure (Q19860854)
• July 23 (Q2722)
• July 2008 (Q243336)
• Lincoln Highway (Q819117)
• Northeast Ohio (Q7057945)
• Ohio State Route 43 (Q1304936)
• Ohio State Route 172 (Q2492051)
• Treaty of Greenville (Q767317)
Library of Congress Subject Headings:
• Lost architecture (sh93000146)
New Pattern "Colored Flowers" - more info here:
www.loveknitting.com/us/colored-flowers-knitting-pattern-...
A booklet from the church identifies her as St. Walburgis. The tribune was bought from the Walburgiskerk in Antwerpen ; made ~1667.
Heading towards the Museum of Somerset. Near the Tone Bridge at the River Tone, went into Goodland Gardens.
Goodland Gardens was opened in March 1971 alongside the River Tone. By the then Mayor of Taunton, Councillor St. Carew-Fisher . The cost of the gardens was met out of a bequest made to the Borough of Taunton by Mr James Easton Goodland to commemorate the life and work of Alderman William Goodland, Mayor of Taunton 1898 - 1899.
Goodland Gardens was created in 1971 in memory of Alderman William Goodland (1844-1926), a former mayor of Taunton. The gardens lies between the River Tone and Taunton Castle. Taunton's Anglo-Saxon corn mill probably stood in this area. The mill stream which still flows through the gardens may have been created as early as the 1200s and begins at French Weir, half a mile to the west.
The site was the scene of fierce action during the Civil War in 1645 when the castle was bombarded by Royalist besiegers. By the 1800s the site was dominated by Town Mills and the Town Brewery, both which continued to operated until they were both demolished in 1956 to 1957.
Town Bridge stands at the entrance to the gardens was was built in 1895. There was at least two earlier bridges. The first existed by 1280 and survived until 1834. Near it was Taunton's House of Correction which served as the Borough Prison.
Goodland Gardens was re-landscaped in 2012, the year of Queen Elizabeth II's Diamond Jubilee.
The Tone Bridge on The Bridge in Taunton.
Grade II Listed
Description
1. TONE BRIDGE
5365
Tone Bridge
ST 2724 NE 9/393
II GV
2.
Large girder bridge built 1895 to the designs of J H Smith and carrying the main
road north over the River Tone. Slightly curved roadway constructed of large girders
supported by 2 rows of circular columns with weatherings. On the outer side these
columns support piers with large volutes and shields containing the Taunton Borough's
coat of arms. The piers are surmounted by 4 good double lamp standards with entwined
dolphins and scallop shells at bases, scrolled foliage to globe brackets and finials.
These globe lamps are said to be part of the earliest electric street lighting
installed in a town in Britian. (see under the Parade). Good ironwork handrails
flank roadway, turned balusters with crocket capitals and openwork panels comparable
to the Vivary Park gates.
Tone Bridge and Nos 5 to 9 (odd) The Bridge (West Side) form a group.
Listing NGR: ST2265624818
The River Tone towards the Tone Bridge. Direction towards Somerset County Cricket Club.
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, unsure which of the 3 excavated crosses is the true one, tests them all by placing a corpse on them, which is brought back to life by the true cross.
Central carriage archway surmounted by an overthrow featuring a swan and monogram on top of the restored wrought iron gates at Elmore Court in Gloucestershire. Either side are pedestrian gates with acanthus and hart's tongue fern motifs, moulded cornice, and openwork urn-shaped finials. The gates were made for Rendcomb College by William Edney of Bristol in 1716 to a design by Jean Tijou and were brought from Redcomb in the mid-19th century; they were restored between 1999 and 2001 with the assistance of a grant from English Heritage. Elmore Court has been family seat of the Guise Baronets for nearly 800 years, and the swan is the family's badge.
The roofline of the Duomo dissolves into openwork pinnacles that are punctuated by a grove of spires, topped with statues that overlook the city.
And now, finally, I reveal the outcome of this very special project initiated by a drawing of Marietta.
First, the "dress", the basis of this set.
It is composed of three separate elements.
- A blouse, almost entirely in old cotton lace, left transparent, with the cuffs and collar of ruffled cotton muslin, edged with fine lace. A fake pearl necklace and a jewel adorns the chest.
- A sleeveless dress using the same model as the Malina dress.
The top of the dress is cut in a dotted swiss fabric, ivory dots on white background. And the skirt is fashioned from a beautiful cotton lace embroidered sometimes as a "broderie anglaise" sometimes as an openwork "venice lace".
In addition, I added a bouquet embroidery on the bust, suggesting two-tone gold and silver, with a subtle mix of pearls and silk ribbon underlined by rayon thread.
The rest of the skirt is lightly beaded to evoke the glint of some snowflakes that would be lost there.
- A tulle petticoat, trimmed by a small and dense tulle ruffle and highlighted by a beaded silk ribbon.
Since this dress will be worn by a custom Vanilla, I used mine as model...
The frosted berries were made by me. The leaves are made of polymer clay, varnished and falsely frosted after baking and berries are made with beads, also frosted.
Diamonds Are Tiffany's Best Friend
Pattern
Diamond Scarf by Caroline Mullen
www.ravelry.com/patterns/library/diamond-scarf-11
Cast On:
December 2 2012
Completed:
December 14 2012
Made for:
DD Teacher
Size:
67" x 8 1/2" blocked
Needles:
US 4 - 3.5 mm
Yarn:
Fleur de Fiber Aries Oceanus in the Little Blue Box Colorway
How much?
1 skeins = 378.0 yards (345.6m)
Purchased at:
The pattern is pretty much exactly from Barbara Walker's first treasury. It is the Openwork Diamonds motif.
Cast on 49 stitches since I am working in fingering. Since it is a smaller skein, I wanted to make sure to have enough length. So I didn't go crazy on the width, but wide enough to look good I think.
I added seed stitch at the edges. I like it better than garter. Hoping it will prevent any rolling.
Third time is the charm with this yarn. The first two patterns were terrible with the yarn. sigh Really seems it shouldn't be so challenging but this yarn has a fair bit of twist in it. I thought the seacell would give it a bit of silky quality. But really isn't feeling like that. If I had the time, I would probably purchase other yarn. However, DD has her last day before Xmas on the 22nd. So I need to get this done.
I was disappointed to find a knot in the skein of yarn. I guess I really think that with 378 yards in the skein that knots could be avoided. So I wasn't thrilled with that. And heaven knows I am lazy and pressed for time. So weaving in more ends irritates me more than it normally would.
I confess that if this weren't a Christmas present, I would have put it down a while ago. I don't know why but I can't recall the repeat. It is only a 12 row repeat. And the wrong side is all the same. I recall the two rows with the double decreases, but the other four never stick in my mind. But that is probably more about my brain as of late. It is actually a very simple repeat. I think it is just all about me. sigh
I hope the teacher will like it. I believe the stitch pattern & yarn work together. The colorway has more variation than I anticipated. It is not quite variegated, but it certainly isn't solid. For the most part, I like that. But in choosing a pattern it does make it tougher.
Wish I had gotten some good pics of this. But the pics I took were late at night & pretty crummy. Ah well.
Marchesa di Gresy. Exclusive design. All wool 100%. Made in Italy. Fully lined in apricot silk.
Mid-sixties vintage.
Christ Church Reading by H Woodyer 1861-1862 enlarged 1874 A fine High Victorian church of the finest quality. The spire rises above Whitley in a town of spires this almost rivals St Giles at the top of of the hill. The North Porch below the tower is the main entrance. Early English in style, the gable over the porch was described as "New Brutalism". Within a richly sculpted reredos by Birnie Philip Stained glass by Hardman also an openwork veil tympanum that symbolizes the lifting of the Veil in the temple similar to that at St Aldate in Oxford. The church is worth comparing with ST Paul's Wokingham which was designed two years following Christ Church this church was one of the most expressive of Woodyer's ideas and work. Woodyer also transformed the medieval town church of Wokingham, but this work is considered far less successful than St Paul's. Woodyer also restored a number of churches, see Caversfield (Oxfordshire).
Silver gilt openwork ornament with floral and geometric designs and Latin inscription "Avsoni+Vivas". Roman Imperial jewelry, 3rd Century AD - 4th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
The dress is fully connected hook, without seams. The upper part of the openwork of individual triangular motifs connected with each other in the process of knitting. The lower part and cuffs - dense.
www.livemaster.ru/item/440131-odezhda-plate-chernichnoe-m...
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 Heraclius has dismounted & donned a sinner's robe, and is admitted to the City.
An Unusual Bronze Harness Fitting with Jingle
Northwest China, 5th-4th Century BC
The upper section of the flat-backed fitting is a rounded openwork jingle enclosing a loose ball that is formed by five rams, their muzzles joined at the center, on the reverse are four attachment loops, the lower section is a trefoil flange pierced with scrolls. The front of the ornament is tinned.
8.2 cm long
www.christies.com/lotfinder/lot_details.aspx?intObjectID=...
Estimate : USD 2,000 - USD 3,000
Price realised : USD 5,250
Christie's
The Harris Collection : Important Early Chinese Art
16 March 2017, New York
Ring made from scratch by hand, soldering and wire-wrapping technique
Materials : oxidized (tinted) and polished silver + ametrine, amethyst
-height (measured on the outer edges)2,3cm.
-width (measured on the outer edges) 2,0x2,7cm.
-adjustable circuit
Original design handknitted in a soft mohair and cotton boucle using an openwork lace stitch. Warmth without weight. Full length view.
Metropolitan Museum of Art, NY
Crown
late 19th–early 20th century
Central Asia or Iran
Silver, fire-gilded and chased, with openwork, decorative wire, and table-cut carnelians; contemporary red cotton lining
5 1/4 x 7 1/8 in. (13.3 x 18.1 cm)
jewelry
7dc12_004
Pectoral ornament
late 19th–early 20th century
Central Asia or Iran
Silver, fire-gilded and chased, with openwork and table-cut and slightly domed and cabochon carnelians
4 3/4 x 4 in. (12.1 x 10.2 cm)
Gift of Marshall and Marilyn R. Wolf 2008.579.3
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Itchan Kala is the walled inner town of the city of Khiva, Uzbekistan. Since 1990, it has been protected as the World Heritage Site.
The old town retains more than 50 historic monuments and 250 old houses, dating primarily from the eighteenth or nineteenth centuries. Djuma Mosque, for instance, was established in the tenth century and rebuilt from 1788 to 1789, although its celebrated hypostyle hall still retains 112 columns taken from ancient structures.
The most spectacular features of Itchan Kala are its crenellated brick walls and four gates at each side of the rectangular fortress. Although the foundations are believed to have been laid in the tenth century, present-day 10-meters-high walls were erected mostly in the late seventeenth century and later repaired.
Tash-Hauli Palace
In the period of Allakuli-khan (1825-1842), the political, public and trading center of Khiva had moved to the eastern part of Ichan-Qala. A new complex formed at the gates of Palvan-darvaza: a new palace, madrassah, caravanserai and shopping mall (tim). The palace of Allakuli-khan was named Tash-Hauli ("Stone courtyard"). It looks like a fortress with high battlements, towers and fortified gates. Its architecture is based on the traditions of Khorezm houses and country villas ("hauli") with enclosed courtyards, shady column aivans and loggias.
Tash-Hauli consists of three parts, grouped around inner courtyards. The northern part was occupied by the Khan's harem. The formal reception room-ishrat-hauli adjoins the last one on the southeast; court office (arz-khana) - in the southwest. In the center of Ishrat-hauli there is a round platform for the Khan's yurt. Long labyrinths of dark corridors and rooms connected the different parts of the palace. Refined majolica on walls, colored paintings on the ceiling, carved columns and doors are distinctive features of Tash-Hauli decor.
A corridor separated the family courtyard of Tash-Hauli (harem or haram) from the official part. Its southern side is occupied by five main rooms: apartments for the Khan and his four wives. The two-storied structure along the perimeter of the courtyard was intended for servants, relatives and concubines. Each aivan of the harem represents a masterpiece of Khivan applied arts. Their walls, ceilings and columns display unique ornamental patterns. Majolica wall panels were performed in traditional blue and white color. Red-brown paintings cover the ceilings. Copper openwork lattices decorate the windows.
The pendant and the cylinder shaped beads were created by me from polymer clay which I embossed with an Asian floral stamp and an Asian waves/fan stamp. I added fluted antique brass finish spacer beads, faceted black onyx, and gorgeous openwork floral antique brass finish beads which mimic the flowers in the stamp.
SOLD 11/07/09
Silvered and gilt openwork bronze coffin handle in the form of an apotropaic bat monster. Found in Tomb #1 of Liu Sheng, d. 113 BC, Mancheng, Hebei, China. Chinese, Western Han, 112 BC. From the Hebei Provincial Museum, Shijiazhuang. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier
Sword-guard (Tsuba 鍔)
Japanese, Momoyama Period, 16th century
Inscribed by Joka
Openwork design of snow and bamboo
Gold necklace with coin pendants
Roman, 3rd century A.D.
Gift of J. Pierpont Morgan, 1917
Two openwork pendants are suspended from a double chain of figure-of-eight loops. Each pendant is set with an aureua (gold coin) of the Emperor Alexander Severus (r. A.D. 222-235). Their different sizes and the second spacer suggest that additional pendants are now missing from the chain. The use of coins in jewelry became very fashionable in the third century and persisted until the early seventh century.
Moscow. "Openwork home" at the Leningrad Avenue, 27, architect A.Burov, (1936-1940) «Tamer horse» sculpture of P.Klodt (replica)
Two Bronze Belt Buckles with Chains
6th-5th Century BC
The plaque of one is cast in openwork as three animals, one a recumbent carnivore with head turned as it bites the tail of a smaller animal, a recumbent ungulate at the bottom suspending two linked chains. A small hook or tongue projects from one edge of the plaque and a button is on the reverse. The other buckle is cast as a crouching carnivore with a button on the reverse and linked chains suspended from a bar between the feet.
18.5 and 23 cm long, first with lucite stand
www.christies.com/lotfinder/lot_details.aspx?intObjectID=...
Estimate : USD 3,000 - USD 5,000
Price realised : USD 1,875
Christie's
The Harris Collection : Important Early Chinese Art
16 March 2017, New York