European Sculpture and Works of Art
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A pair of Mandarin Duck Drakes were easily photographed at Lynx Lake. Also spotted at a distance were two Mandarin Duck hens.
These Ducks are probably escapees from a private collection. They are native to the East Palearctic ("a zoogeographical region comprising Eurasia north of the Himalayas, together with North Africa and the temperate part of the Arabian peninsula").
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A movement,
if not circular
is supposed to serve
a particular aim.
But what,
if a stand still
under the circumstances
is the optimal
condition?
(Monoprint, mixed media, size of paper 32x24 cm
(in private collection)
One of 10 Wood Duck that have turned up on a pond in Ebbwvale. Mystery as to where they came from, and despite most likely being an escapee domestic Ducks from a private collection, they are certainly getting comfortable.
Collezione privata - private collection
©all rights reserved_ph.p.ph.© 2017
.... Non fai solo una fotografia , tu metti nella fotografia tutte le immagini che hai visto, i libri che hai letto, la musica che hai sentito, e le persone che hai amato.
(Ansel Adams)
“You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.”
(Ansel Adams)
Many thanks dear friends for your views, faves and supportive comments. These are always very much appreciated.
All Rights Reserved Worldwide In Perpetuity.
- No Unauthorized Use.
Absolutely no permission is granted in any form, fashion or way, digital or otherwise, to use my images on blogs, personal or professional websites or any other media form without my direct written permission.
This includes Pinterest, FaceBook,Tumblr,X, Reddit or other websites where one's images are circulated without the photographer's knowledge or permission.
If you recognize yourself in a photo in this gallery, you certainly weren't what I was photographing, if you don't want it to be published let me know and the photo, perhaps, will be removed.
[ph.p.ph.©] TdS Pd Italy EU
The Nativity - Adoration of the Magi. Mid - 3rd quarter 18th century Kostroma region. Museum of Russian Icons
Russian Orthodox Christmas is celebrated on January 7th, according to the Julian calendar. Currently, the difference between the Gregorian calendar and the Julian calendar is 13 days. Christmas is a public holiday in Russia, celebrated by many Christian Russians as one of the most important holidays of the year.
Dear friends, when you are in Moscow, try to find an opportunity to visit this museum.
The Museum of Russian Icons is the largest private collection of Eastern Christian art to date, combining the masterpieces of Russian icon painting from the 14th to the 20th centuries, as well as monuments once created by masters of Byzantium, Eastern Mediterranean, and Ethiopia. Founded in 2006 by the Moscow entrepreneur and philanthropist Mikhail Yuryevich Abramov, the museum now brings together about 5,000 exhibits, and its permanent exhibition takes up approx. 1,000 sq. m. (4 floors and more than 10 rooms) on Goncharnaya Street in Moscow. Visiting the museum, as well as all excursions, exhibitions, concerts, lectures on its territory are free for all groups of the population.
Ikaria is one of the most recognizable sculptures by Igor Mitoraj. Its original replica was placed in the Paris district of La Défense, next to the most famous works of sculpture artists from around the world. The three-meter version of Ikaria, created in 1996, currently presented in the courtyard of the Pod Blachą Palace, comes from a private collection. The birthplace of the monumental figure is the Italian foundry of Pietrasanta in Tuscany. Until now, the figure was in the mBank's art collection, and then acquired by a private owner, was deposited for a temporary exhibition, related to the jubilee of the reconstruction of the Royal Castle in Warsaw.
The artist's work was inspired by the world of Greek and Roman mythology, and Ikaria is a clear reference to the myth of Daedalus and Icarus. Ascent as well as fall. Winged Ikaria reminds us of the eternal human drive to fulfillment and development, to rise to the heights of his abilities. It depicts a winged woman, proud in her majesty. Ready until it can take to the air. Both the inspiration and the obstacle in this flight may seem to be the male face, which we see in several places: in the hole cut on one of the wings, on the side and in the womb of the woman. A male hand prevents a female from flying into the skies.
This was in Dyer, Arkansas. I don't if this was a store, museum or a private collection. I made a few exposures and moved on since I didn't have permission to be there. 12 exposure panoramic image constructed in Lightroom Classic.
Kaiser Wilhelm II had often been on vacation to Sunnmøre. After the fire, he sent four warships with materials to build temporary shelters and barracks. After a period of planning, the town was rebuilt in stone, brick, and mortar in Jugendstil (Art Nouveau), the architectural style of the time. The structures were designed by approximately 20 master builders and 30 Norwegian architects, most of them educated in Trondheim and Charlottenburg, Berlin, drawing inspiration from all over Europe. To honor Wilhelm, one of the most frequented streets of the town is named after him
This is a detail of the rusted surface of the huge steel panel constituting a small part of Richard Serra's sculpture, Sylvester, obviously reflecting some of the color of the day's blue sky. Looks like a Color Field painting to me.
I encountered Serra's massive work at an art museum called Glenstone, consisting of a private collection, and located about 22 miles northwest of the Washington Monument in exurban Maryland. It's a lovely place, and has many other post WWII pieces of art, as well as a lovely physical plant and grounds.
.onceagain.gallery
P R I V A T E_C O L L E C T I O N
BRYN OH
CALY APPLEWHYTE
COMMANDER DR. ELAM
DIXMIX
DUNA GANT
EUPALINOS UGAJIN
FIONA SAIMAN
HARBOR GALAXY
HILARIE BEAUMONT
ICY
JEROME FARRIOR
KUNISAKI IZUMO
LIKA CAMEO
MALOE VANSANT
MELUSINA PARKIN
MICH MICHABO
MIHALISK
MIU MIU MUI
MOKI YUITZA
NEKONUKO NAKAMORI
RORY TORRANCE
SABINE MORTENWOLD
SINA SOUZA
SCYLLA RHIADRA
THERESE CARFAGNO
WROUM SHORT
WHISKEY MONDAY
sculptures:
MISTERO HIFENG
CHERRY MANGA
CICA GHOST
GBTH x RB
MISTERO HIFENG
FIONA FEI
maps.secondlife.com/secondlife/Peaceful%20Mountains/172/6...
Materials: woodblock print. Dimensions: 24 x 36.5 cm. Source: image.invaluable.com/housePhotos/Auktionshaus/64/724064/H.... I
СЕРГЕЙ ВИНОГРАДОВ - Дама в интерьере
☆
Private collection
Sotheby's London, Russian Art Evening Sale, June 2009.
Sources: www.sothebys.com/en/auctions/ecatalogue/2009/russian-art-...
ru.m.wikipedia.org/wiki/%D0%92%D0%B8%D0%BD%D0%BE%D0%B3%D1...
Maarten van Heemskerck (or Marten Jacobszoon Heemskerk van Veen - Heemskerk, 1498 - Haarlem, 1 October 1574) Momus criticizes the creations of the gods (1561) oil on oak wood 122.4 x 177 cm - Gemäldegalerie Berlin
Un viaggio in Italia e un soggiorno a Roma facevano quasi obbligatoriamente parte della formazione degli artisti olandesi nel XVI secolo. Dopo Jan Gossaert e Jan van Scorel, anche Maerten van Heemskerck si spostò a sud. Poco dopo, Lambert Lombard e Frans Floris lo seguirono. Il fulcro dei viaggi in Italia era lo studio delle antiche eredità e dell'arte del Rinascimento italiano. Questo ha aperto nuove dimensioni per i maestri del nord. Gli schizzi realizzati da Heemskerck a Roma sono pieni di rovine dell'antica Roma e sculture antiche che ha studiato nel giardino delle statue del Belvedere, in luoghi pubblici o in collezioni private di antichità.
In questa rappresentazione, gli dei dell'Olimpo si sono riuniti su un prato fiorito in un paesaggio simile a un parco pieno di monumenti antichi, per presentare le opere d'arte che hanno creato. Possiamo vedere Nettuno con il cavallo che ha creato, Vulcano con la vergine che ha creato e Minerva con il suo imponente palazzo che svetta sullo sfondo. Momus è il giudice della competizione degli dei, la personificazione alata della ricerca dei guasti, che critica tutto indiscriminatamente. Momus richiede che il petto degli uomini venga aperto, in modo che tutti possano vedere nei loro cuori. La piccola scultura sul braccio sottolinea quanto sia sciocca e arrogante la sua richiesta. Questa scena colta con un taglio umanista risale all'antico poeta Luciano
A trip to Italy and a stay in Rome were almost obligatory part of the training of Dutch artists in the 16th century. After Jan Gossaert and Jan van Scorel, Maerten van Heemskerck also moved south. Shortly afterwards, Lambert Lombard and Frans Floris followed him. The focus of their travels in Italy was the study of the ancient legacies and art of the Italian Renaissance. This opened new dimensions for the masters of the north. The sketches made by Heemskerck in Rome are full of ruins of ancient Rome and ancient sculptures he studied in the garden of the Belvedere statues, in public places or in private collections of antiquities.
In this representation, the gods of Olympus gathered on a flowery meadow in a park-like landscape full of ancient monuments to present the works of art they created. We can see Neptune with the horse he created, Vulcan with the virgin he created and Minerva with her imposing palace that stands out in the background. Momus is the judge of the competition of the gods, the winged personification of troubleshooting, who criticizes everything indiscriminately. Momus demands that men's chests be opened so that everyone can see into their hearts. The small sculpture on his arm emphasizes how foolish and arrogant his request is. This scene, captured with a humanist slant, dates back to the ancient poet Luciano
Materials: acrylic on canvas. Dimensions: 99.7 x 121.9 cm. Inscriptions: Tomás Sánchez 95 (lower right). Auctioned by Phillips, in New York, on July 2, 2020. Source: www.phillips.com/detail/tomas-sanchez/NY010420/142. I have changed the light and contrast of the original photo.
CP 1404 here with a Porto São-Bento to Tua passenger train, Douro line. CP 1401 to 1410 were built in England at Newton-le-Willows. The remainder of the class (1411-1467) were assembled by SOREFAME in Portugal.
CP 1404 is still running after so many years:
private collection, reproduction prohibited
This piece of fossiled wood ( Metasequoia sp.) collected in the Shoshone National forest from the Eocene Absaroka Volcanic Supergroup; Absaroka Mountains, Park County,Wyoming. This specimen is part of a private collection.
We often call this kind of fossil “petrified wood,” but that name isn’t quite accurate. After the tree was buried, minerals in groundwater or hydrothermal fluids slowly filled the tiny pores and spaces within the wood. This process is called permineralization. As this mineralization process continued the cellular wood structure itself began to be replaced atom by atom until a stone copy of the wood was made.
Over time, these minerals—most often quartz (SiO₂) in forms like agate, chalcedony, or jasper—hardened and preserved the wood’s natural texture and growth patterns. Occasionally, other minerals such as calcite, pyrite, opal, hematite, or even uraninite and carnotite (uranium ores) can be the permineralizing and replacement material.
This is a detail of the painting Desert Stream , Tim Lowly, tempera on panel, 24" x 16", 1989, private collection.
This is one of over 60 works that are currently part of the exhibition I have at the Visual Arts Center of the Washington Pavilion in Sioux Falls, South Dakota.
ПЬЕР БОННАР - Осенняя прогулка или Элегантные
☆📀
Private collection.
Christie's New York / Impressionist & Modern Art Day Sale, November 18, 2025.
Sources: www.christies.com/en/lot/lot-6560133
archive.org/details/BonnardAndTheNabisByAlbertKostenevitc...
archive.org/details/1970.30MisiaGodebska
ЭССЕ В КАТАЛОГЕ АУКЦИОНА
На картине Боннара 1908 года "Осенняя прогулка или Элегантные " трое молодых людей встречаются прохладным осенним днем. Вместе они неспешно прогуливаются по лесистой местности, любуясь осенними красками. Эту элегантную троицу сопровождают две собаки - черная, энергичная охотничья собака и, гораздо меньшая, белая пушистая собачка - которые виляют хвостами, словно говоря об игривом настроении своих хозяев. Хотя черты лиц гуляющих скрыты, фигуры принимают непринужденные позы, намекая на интимность их встречи, даже на фоне обширного пейзажа. Члены небольшой компании модно одеты в лихие шляпы и многослойные одежды в кремово-белой и бежево-салатовой гамме. Их светлая одежда контрастирует с насыщенными цветами окружающего пейзажа. Богатая цветовая палитра осенней листвы варьирует от бархатисто-желтой до лососево-розовой и бордовой. Сочная трава представляет собой калейдоскоп зелени, а холмы и небо на заднем плане отливают нежно-розовым и голубым. Таким образом Боннар создаёт раннюю, радикально современную версию галантного праздника начала XX века — игривого пейзажного жанра, изобретенного французским художником XVIII века Жаном-Антуаном Ватто.
В своём блестящим, декоративном видении природы Боннар явно отдает предпочтение цвету и текстуре, а не реалистичности. Его выразительная живописная палитра фактуры и цвета определяют композицию даже в большей степени, чем социальные ритуалы буржуазных модниц и модников, детали их костюмов или сам пейзаж. Как однажды заявил художник-постимпрессионист: "Главный предмет - это поверхность, которая имеет свой цвет, свои законы, превосходящие законы предметов. Речь идет не о том, чтобы изобразить жизнь, а о том, чтобы вдохнуть жизнь в живопись" (цитируется по: N. Watkins, Bonnard, London, 1994, p. 171). Иными словами, для Боннара эстетические качества краски на поверхности холста представляли больший интерес, чем изображаемый объект.
В 1908 году, когда была написана эта картина, Боннар еще не разработал шокирующие, резкие оттенки и пятнистую, сильно узорчатую текстуру поверхности, которые характеризовали некоторые из его поздних пейзажей - например "Осенний пейзаж" из коллекции Художественной галереи Онтарио, написанный около 1933 года. Однако Боннар уже тогда отверг многие академические условности пейзажной живописи, особенно в отношении цвета, света, тени и перспективы. Как он позже утверждал: "Я стал художником пейзажей не потому, что писал пейзажи - я написал их лишь несколько, - а потому, что обрел душу пейзажиста, поскольку смог освободиться от всего живописного, эстетического или любых других условностей, которые меня отравляли (цитируется по: A. Terrasse, “Some Thoughts on Pierre Bonnard” in Bonnard, exh. cat., Salzburg, 1991)