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So-Called “Hippo Tooth” beads
a rectangular bead cut from half of a large seashell. It’s off-white color, enamel like surface and large size give rise to its popular name.
It was once use in Africa to purchase market items and cattle. Its smooth appearance is the result of hours of polishing with a wet sand mixture and it is most frequently found in the Ivory Coast and Nigeria. Beads are from MBAD/ABA African Bead Museum.
4 pcs Black 4×6 LED Headlight Bulb, Sealed Beam Replace Hid Xenon, Rectangular H4651 H4652 H4656 H4666 H6545 for 86-95 JEEP WRANGLER Peterbilt Kenworth FREIGHT-LINER (4×6) & MORE
The ultimate LED headlight upgrade, these headlights offers LED low beam and high beam in the same...
wagonlancer.com/en-us/blog/2017/03/24/4-pcs-black-4x6-led...
Place Vintimille, 1911
Edouard Vuillard
West Building, Main Floor — Gallery 80
On this decorative screen, Edouard Vuillard painted the Place Vintimille (now the Place Adolphe-Max), as seen from his fifth-floor apartment. Vuillard was an avid photographer, and he took snapshots from his window to use as reference for these panels.
The sweeping curve of the sidewalk, which unifies the five panels, is dotted with small scenes of everyday life. Vuillard captures the bustling activity of a bright spring day in the city. While this subject is typically Parisian, the work reflects Vuillard’s fascination with Japanese art. Its seemingly casual arrangement of forms and cropped composition recalls Japanese woodblock prints.
A screen made up of five tall, rectangular panels, set side by side and each surrounded by a gold frame, is painted as a single scene showing a tree-lined sidewalk curving around a park in a city. The scene is loosely painted with short, rounded brushstrokes. The top two-thirds to three-quarters of most of the panels are filled with the lime and olive-green leaves of the trees that line the sidewalk and park. In the leftmost panel, the sidewalk and road lead back to a row of caramel-brown building façades. The sidewalk is pale taupe, and the street is painted with dashes of the same taupe against terracotta brown, suggesting cobblestones. Spindly trees are spaced in a row along the sidewalk in round holes covered with smoke-gray metal grates. A black fence, painted with thin, sometimes broken black lines encloses the park beyond, which has a path around plantings and the vivid green lawn. Touches of pink on a sage-green tree to our left in the park suggest flowers. A gray statue on a high plinth is partially lost in the break between the two rightmost panels. Men, women, and children, painted with a few strokes of black, gray, or marine or periwinkle blue, walk along the sidewalk and the garden path, or sit at the base of the fence or on benches spaced along the sidewalk. The women seem to wear long dresses and the men dark clothing and hats. Two carriages are pulled up on the street near a lamp post alongside the sidewalk near the lower left. In the leftmost panel, horse-drawn carriages move along the road leading back to the buildings, and more people seem to be gathered on the sidewalk near the left edge of the panel in the distance. The artist signed the work with brown paint in the lower right corner: “E. Vuillard.” The panels of the screen have been set up so the panels rest on a platform or on the floor in a shallow zig-zag pattern, in a room with an off white wall and bisque-brown molding along the floor.
Although best known today for the small, intimate interiors he painted in the 1890s while affiliated with the group of artists known as the Nabis (prophets), Edouard Vuillard also produced a number of large decorative works, such as Place Vintimille, for both public buildings and private residences. It was painted for Marguerite Chapin--later the princess of Bassiano--an American expatriate living in Paris whom Vuillard first met in March 1910 through his friend Pierre Bonnard. Shortly after this meeting she commissioned the artist to execute a large decorative panel, The Library (Musée d'Orsay, Paris), for her new apartment at 11, rue de l'Université. Following its installation in late April or early May 1911, Chapin commissioned a second work from Vuillard, the Place Vintimille, a five-panel decorative screen. Vuillard worked rapidly, and by early June 1911 the painting was mounted on a wood support backed by wallpaper and ready for installation in her home.
The painting's subject is the place Vintimille (now the place Adolf-Max) in springtime, as viewed from the artist's Paris apartment. In the summer of 1908, Vuillard took up residence in a fifth floor apartment at 26, rue de Calais, which would remain his home for the next eighteen years. During this time, he painted several street scenes from his window, including three panels showing the place Vintimille in wintertime that were commissioned by the playwright Henry Bernstein and that served as the inspiration for the Chapin screen. The format of Place Vintimille, however, clearly distinguishes it from these earlier paintings, which were closely related but ultimately independent panels executed as part of a larger group depicting the streets of Paris. By contrast, Place Vintimille was clearly a self-contained and articulated whole. While Vuillard was obviously intrigued by this format--he included screens into the backgrounds of several of his paintings--he only produced three such decorative screens, of which Place Vintimille is the last.
In many respects, Place Vintimille is a quintessential example of the artist's mature style. Its subject is drawn from modern life, and it reflects Vuillard's fascination with Japanese art, a passion he shared with fellow Nabis. The format itself--that of a folding screen--was based on Japanese prototypes, while the composition, with its striking bird's-eye view, off-center composition, and casual array of cropped forms and patches of color, seems drawn from Japanese prints. Even Vuillard's seemingly novel choice of medium reflects the artist's personal style. Although he used oil paint throughout his career, by the early twentieth century he was showing a marked preference for distemper, a glue-based paint. Here Vuillard juxtaposed the matte areas of color with the exposed portions of the beige cardboard, allowing the support to become an active part of the composition. The result is a richly patterned surface that retains a remarkable sense of freedom and freshness despite the work's imposing scale.
(Text by Kimberly Jones, published in the National Gallery of Art exhibition catalogue, Art for the Nation, 2000)
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Features:
* Belongs to Gabriella Collection
* Contemporary Style
* Rectangular Dining Table with 4 Side Chair
* Made with the Solid Elm and with an acid washed zinc top
For further details, please check www.beyondstores.com/sitcom-furniture-gabriella-5-piece-r...
Habitatge de planta rectangular amb coberta de dos aiguavessos, de teula àrab, i carener perpendicular a la façana principal, que s'obre cap el SE. L'edifici compta amb planta baixa i planta pis. Les obertures de la façana principal, actualment tapiades, no es distribueixen de forma simètrica. Totes les finestres d'aquesta façana són allindades, mentre que els dos accessos de la planta baixa tenen arc escarser.
Malgrat estar deshabitada i amb els accessos tapiats, l'edifici conserva en prou bon estat la coberta, fet que, en principi, garanteix, de moment, la seva conservació. Pel que fa a la cronologia, les seves característiques físiques ens fan inclinar per una data de construcció dins del segle XIX, si més no, per l'edifici que actualment podem observar. Si més no, ens trobaríem davant una reforma molt important en aquest moment. Sobta, en tot cas, que sembla més antiga la Baltana Nova, clarament situable dins el segle XVIII, que no pas la Baltana Vella que tractem en aquesta fitxa.
Con el tamaño 75x40, el Puf Cube se convierte en un banco, ideal como asiento para pie de cama -también de un hotel- y como punto de apoyo donde depositar cualquier objeto o para calzarse. Para más información visita mipuf.es.
Rectangular light green box made of wax, decorated with a yellow crocheted rose above a dark green leaf. 100% natural essential oil with peppermint fragrance. Size: 85 x 55 mm.
Handmade.
Read more:
The rectangular sink is 12 inches by 18 inches and is beautifully curved toward the drain. A single handle Delta Lahara faucet enhances the look.
Edifici situat en un costat de la plaça de l´Església del poble, de planta rectangular, d’una sola nau coberta amb volta d’aresta amb claus, capelles laterals bastides en els murs i capçalera amb absis. Presenta una coberta a doble vessant i campanar d’espadanya que sobresurt del la mateixa estructura de l´absis. L’actual porta d’accés es troba al mur de migjorn i se’ns presenta amb pilastres a banda i banda adossades al mur, de les quals arranca un arc de mig punt. A la clau de l’arc hi ha un relleu amb el símbol papal i unes claus, i per sobre la data "1867". La porta culmina amb un frontó perfectament definit gràcies a una motllura que el ressegueix.
La pica d'aigua beneïda és feta de pedra i es troba abandonada a l'exterior de l'església. Presenta un costat foradat, cosa que sembla indicar que havia estat adossada al mur. Té un brocal en forma de cornisa, una faixa excavada i decorada amb volutes, i una segona cornisa; en conjunt delimiten la part superior de la pica.
Una vintena de sòcols limiten uns relleus en forma de lòbuls. Malauradament, l'estat en què es troba avui dia, impedeix parlar del seu interior i del seu peu.
L'església de Sant Pere dels Arquells fou fins el 1835 el centre de la prepositura o priorat del mateix nom, que havia estat creat el 1100 per Ramon Guillem d'Òdena, el qual donà al monestir de Santa Maria de l'Estany l'església de Sant Pere , fundada pel seu pare l'any 1086, amb la condició que els de l'Estany instal.lessin als Arquells una comunitat prioral sota la regla de Sant Agustí
El que en substeix avui no evidencia en res l'antiga fundació, tot i que, incertament, hom hi podria relacionar les restes d'una pica beneïtera
De fet és fins el segle XIV que la Prepositura gaudeix d'una certa prosperitat, ja que les visites pastorals del segle XIV confirmen un progressiu esllanguiment de la fundació, que és molt clar ja en el segle XVI, moment en què a causa de la secularització dictada pel papat passà a dependre del monestir de Montserrat (1592) i fou regida per monjos amb títol de paborde, fins el 1835.
Bring a simple, contemporary styling into your dining and entertaining space with this dining table. Crafted with a warm, cappuccino finish and a brown top, the table is rectangular in shape and lifted on square tapered shaker legs. It has a smooth table top with adequate dining space. Pair with the coordinating dining chairs to craft a beautiful set.
Capella formada per una nau rectangular amb un absis semicircular a llevant, sense arcuacions. A mig dia, prop del presbiteri, s'obre una absidiola semicircular a la qual les dues lesenes, que arranquen del sòcol, no arriben a la part superior.
Les finestres són de doble esqueixada.
La porta és de mig punt, amb una arquivolta en degradació entorn de l'arc d'obertura.
No hi ha timpà sinó un reixat modern.
La capella, totalment arrebossada a l'exterior i engalbada a l'interior, està coberta amb una volta de canó apuntada i, només en petits indrets on l'arrebossat ha saltat, es deixa entreveure l'aparell divers: d'espiga, amb còdols, de carreus petits, grans i quadrats, i encara més grans a les cantonades...etc.
Aquest fet ens fa pensar que potser es va edificar o restaurat en diversos períodes.
La capella es troba situada a un indret on hi hagué una vil·la roman, d'origen republicà, l'ocupació de la qual és testimoniada, en temps de l'Imperi, fins el segle III dC.
Deprés el temple dedicat a Sant Quintí està documentat els anys 1137, 1160 i el 1246.
Després d'aquestes dues primeres dates esmentades, el Bisbe de Barcelona es queixà de Ramon Bremon de Castellbisbal, perquè aquest hauria perjudicat dit prelat i els seus alous de Castellbisbal, així com als seus homes. A més, Ramon Bremon, s'havia venut la vila de Sant Quintí. Cal recordar que el Bisbe de Barcelona era el Senyor superior de Castellbisbal i que hi tenia com a castlans els de Castellbisbal.
Vers 1980 fou restaurada pels propietaris que asfaltaren també l'entorn.
Acrylic, oil pen, and collage elements on canvas board
5"x7"
Marc-Anthony Macon, 2021
When I was about 6, I bought this little plastic device from a garage sale into which you could place a hardboiled egg and press it into a cube shape. I brought such eggs for lunch, and when the other kids asked about them, I told them that my family raised "angular chickens." I had cubed eggs for a year or two until the thing broke.
Original, SOLD
Sterling silver shiny rectangular siamond-cut edge design Ayatul-Kursi pendant for necklaces. Measures 1.3" x.9" (3.3cm x 2.2cm). Has the 255th ayat of suratul-baqara legible written with raised letters. Chains sold separately. This is also deemed as the verse of protection. The verse is considered by some muslims to be a token of protection from harm and ill-will by Allah's permission.
Unique Quran Pendant with Ayatul-kursi
Antiqued Diamond-cut Edge Design
Legible Ayatul-kursi Pendant for Necklace
Comes in small silver foil gift box
Rectangular pop-up flash is geeky but neat..reminded me to the hilarious 90s movie starred by Stephen Chow Sing Chi "All Wells Ends Well 97"
André Giroux - French, 1801 - 1879
Santa Trinità dei Monti in the Snow, 1825/1830
West Building, Main Floor — Gallery 91
From a high vantage point, we look across a snow-covered expanse at the long side of a pale, parchment-colored building with a town beyond in this horizontal landscape view. The scene is painted loosely and mostly in tones of icy blue, cream white, golden tan, and brown. Closest to us but far below, a hedge of moss-green treetops lines the sun-drenched, ivory-white field. The field slopes up to our left and a path, between two rows of cinnamon-brown trees, leads from the bottom center of the painting to the building. Four stories of mostly rectangular windows pierce the wall of the building in front of us. Shadows on the snow-covered roof are painted with thick strokes of steel blue. On the other side of the building, a second long roofline runs parallel to the first. The short side of the building, to our right, has a tower at each corner. A fawn-brown obelisk, which is a tapering, pointed column, is topped with a cross and stands in front of the building façade. Stacked and overlapping rooflines, painted broadly in azure blue and silvery gray, fade toward the distant horizon, which comes halfway up the canvas. A blanket of white clouds with arctic-blue bottoms sweep across the sky, revealing only a few small patches of vivid blue sky beyond.
Giroux first studied painting under his father in his native Paris, and began to exhibit landscapes at the Salon in 1819. He entered the École des Beaux-Arts in 1821 and won the Prix de Rome for historical landscape in 1825. This coveted prize took him to the Académie de France in Rome, where he studied until 1830. Many a French artist made the trip to Rome during this period, and Giroux numbered among his friends there such innovative young landscape painters as Jean-Baptiste-Camille Corot, Caruelle d'Aligny, Edouard Bertin, and Léon Fleury. Although idealized, historical landscapes won official academic favor, in practice Giroux and his contemporaries had a passion for working out-of-doors. They sought to capture their experience of nature as immediately as possible by painting in oils, usually on prepared paper, in the open air. A sense of immediacy is often conveyed by the sketchiness of these open-air studies, which were usually made quite quickly. Sometimes, however, these artists completed such works in the studio, bringing them to a greater degree of finish. Giroux and his compatriots went on painting expeditions together, both in Rome and beyond its walls, into the surrounding campagna. In 1831 Giroux submitted a group of such oil studies made in Italy--probably the more finished type, rather than freely executed sketches--for exhibition at the Salon in Paris, where they won him a gold medal. This indicates a growing public and official acceptance, immediately following the Revolution of 1830, of a more naturalistic aesthetic.
Santissima Trinità dei Monti, in the Snow was most likely painted from a window, rather than strictly in the open air: after all, such weather was hardly conducive for working outdoors! The view is taken from the north side of the Villa Medici, the seat of the Académie de France on the Pincian Hill in Rome, looking toward the famous church and convent of the title; the convent's snow-covered kitchen garden is in the foreground. We can speculate that the view was made from the artist's own window while he was a student at the Villa Medici. The date of 1827-1828, suggested by an old pencil inscription on the stretcher of the canvas, is consistent with Giroux's residence there. Beyond the church of Santissima Trinità dei Monti, the Palazzo Quirinale blocks the horizon; the obelisk to the right in front of the church marks the top of the Spanish Steps. Giroux has captured the steely gray light of a cold winter's day, and brilliantly combines a sharp sense of topographical accuracy with a lively, sketchy, painterly touch.
More information on this painting can be found in the Gallery publication French Paintings of the Nineteenth Century, Part I: Before Impressionism, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.