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This mural in the Klingenstein Maternity Pavilion of Mt. Sinai Hospital is eight feet high by twenty feet long. The mural was dedicated on December 7, 1954 and depicted scenes from the local zoo, boathouse and the Metropolitan Museum of Art. More information about Henry Varnum Poor's architectural ceramics can be found on my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
This mural in the Klingenstein Maternity Pavilion of Mt. Sinai Hospital is eight feet high by twenty feet long. The mural was dedicated on December 7, 1954 and depicted scenes from the local zoo, boathouse and the Metropolitan Museum of Art. More information about Henry Varnum Poor's architectural ceramics can be found on my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
18th century tile murals adorn the sides of this old church in the Alfama neighborhood of Lisbon, Portugal.
Ceramic art by Eduardo Nery.
2000-2002
Approximate surface area: 1.930 m2
Manufacture of the tiles: Fábrica Cerâmica Viúva Lamego Laying: Armol Freyssinet
This mural in the Klingenstein Maternity Pavilion of Mt. Sinai Hospital is eight feet high by twenty feet long. The mural was dedicated on December 7, 1954 and depicted scenes from the local zoo, boathouse and the Metropolitan Museum of Art. More information about Henry Varnum Poor's architectural ceramics can be found on my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
One day as I walked along East 72nd Street in Manhattan, I passed a building with four ceramic roundels under the shallow ground floor arches on its facade. The ceramic ornamentation in the archways of the facade was made by the artist/ceramicist Henry Varnum Poor who felt that "since architecture itself is a more or less abstract art, the warmth of some imagery is needed in our buildings." For more information about the architectural ceramics of HVP, go to my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
Artaic’s custom designed mosaic panels are featured prominently at Ristorante Luce, a revitalized New York restaurant, combining traditional mosaic design with a contemporary application. Patrons are greeted in the entry foyer by two eight foot high vibrant floral mosaics, while two equally impressive panels bring a tangible energy to the interior space, with the unique backlit technology making them highly distinctive conversation pieces.
The mosaics display images of traditional floral still life, both in a traditional arrangement and in a more modern representation. Using 3/8” vitreous glass, Artaic used 60,500 tiles to produce the 85 square feet of mosaic imagery. A mixture of translucent and semi-opaque tiles allow for the LED backlight to create an exquisite variable intensity glow as the ambient light wanes.
The exclusive translucent grout from Star Quartz causes the grout lines to take on neighboring tile color, and practically vanish with backlighting.
See more at Artaic's Website
This mural in the Klingenstein Maternity Pavilion of Mt. Sinai Hospital is eight feet high by twenty feet long. The mural was dedicated on December 7, 1954 and depicted scenes from the local zoo, boathouse and the Metropolitan Museum of Art. More information about Henry Varnum Poor's architectural ceramics can be found on my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
Originally built in 1914 as the Los Angeles home to the Brunswick-Balke-Collender Company, maker of bowling, billiards, and phonographs. Renamed for this 1987 Statue of Liberty mural by Judith Harper, initiated by poet Victor di Suvero.
One day as I walked along East 72nd Street in Manhattan, I passed a building with four ceramic roundels under the shallow ground floor arches on its facade. The ceramic ornamentation in the archways of the facade was made by the artist/ceramicist Henry Varnum Poor who felt that "since architecture itself is a more or less abstract art, the warmth of some imagery is needed in our buildings." For more information about the architectural ceramics of HVP, go to my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
This mural in the Klingenstein Maternity Pavilion of Mt. Sinai Hospital is eight feet high by twenty feet long. The mural was dedicated on December 7, 1954 and depicted scenes from the local zoo, boathouse and the Metropolitan Museum of Art. More information about Henry Varnum Poor's architectural ceramics can be found on my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
Another of my peeks at the Space Needle from different points of view. This was from the tile mural from 1962 which decorates an outdoor stage at Seattle Center.
Artwalk tile is not the creator of this image nor the tile within it. This image is being used only for inspiration on our blog.
Learn more at www.artwalktile.com/blog
This mural in the Klingenstein Maternity Pavilion of Mt. Sinai Hospital is eight feet high by twenty feet long. The mural was dedicated on December 7, 1954 and depicted scenes from the local zoo, boathouse and the Metropolitan Museum of Art. More information about Henry Varnum Poor's architectural ceramics can be found on my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
Henry Varnum Poor's mural made for 25Q185 (the NYC Board of Education’s designation for JHS 185, 147-26 25th Drive, Flushing, Queens) is installed near the entrance to the school on the facade, inside a fence. As a result of the Central Park mural at Mt. Sinai Hospital, an architect who designed this school, Ralph Pomerance, invited Poor to make a mural for Edward Bleeker Junior High School.Because of the severely rectilinear pattern of the building Henry broke both the top and bottom boundary lines of his design, so that the mural itself, surrounded by the yellow brick of the wall, varied in height from ten to seven nine-inch-square tiles. More information about HVP's architectural ceramics can be found in my article, "Architectural Ceramics of Henry Varnum Poor", on my blog, tilesinnewyork.blogspot.com/2013/01/architectural-ceramic...
One day as I walked along East 72nd Street in Manhattan, I passed a building with four ceramic roundels under the shallow ground floor arches on its facade. The ceramic ornamentation in the archways of the facade was made by the artist/ceramicist Henry Varnum Poor who felt that "since architecture itself is a more or less abstract art, the warmth of some imagery is needed in our buildings." For more information about the architectural ceramics of HVP, go to my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
One day as I walked along East 72nd Street in Manhattan, I passed a building with four ceramic roundels under the shallow ground floor arches on its facade. The ceramic ornamentation in the archways of the facade was made by the artist/ceramicist Henry Varnum Poor who felt that "since architecture itself is a more or less abstract art, the warmth of some imagery is needed in our buildings." For more information about the architectural ceramics of HVP, go to my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
One day as I walked along East 72nd Street in Manhattan, I passed a building with four ceramic roundels under the shallow ground floor arches on its facade. The ceramic ornamentation in the archways of the facade was made by the artist/ceramicist Henry Varnum Poor who felt that "since architecture itself is a more or less abstract art, the warmth of some imagery is needed in our buildings." For more information about the architectural ceramics of HVP, go to my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
"Shooting of the 17 Decimated Texans at El Salado, Mexico March 25, 1843"
The Mier expedition was an unsuccessful military operation launched in November 1842 by a Texian militia against Mexican border settlements; it was related to the Somervell expedition. It included a major battle at Ciudad Mier on December 26 and 27, 1842, which the Mexicans won. The Texian attack was launched partly in hopes of financial gain and partly in retaliation for the Dawson Massacre (as named by Texans) earlier that year, in which thirty-six Texas militia were killed by the Mexican Army. Both conflicts were part of continuing efforts by each side to control the land between the Rio Grande and Nueces River. The Republic of Texas believed that this territory had been ceded to it in the Treaties of Velasco, by which they gained independence; but Mexico did not agree
One day as I walked along East 72nd Street in Manhattan, I passed a building with four ceramic roundels under the shallow ground floor arches on its facade. The ceramic ornamentation in the archways of the facade was made by the artist/ceramicist Henry Varnum Poor who felt that "since architecture itself is a more or less abstract art, the warmth of some imagery is needed in our buildings." For more information about the architectural ceramics of HVP, go to my blog at tilesinnewyork.blogspot.com/2013/01/architectural-ceramic....
At Las Noches de las Luminarias in Phoenix’s Desert Botanical Garden, every corner is designed to inspire awe—and this modern desert vignette is no exception. Lit by a series of glowing luminarias, the angular white tile and mosaic wall becomes a luminous canvas that contrasts beautifully with the rugged textures of the surrounding desert plants. Towering cactus columns and spiky agaves punctuate the night sky, while the aloe vera blooms in the foreground add vibrant pops of red-orange. The sleek lines of the stone retaining wall mirror the geometry of the desert flora, blurring the boundary between human-made design and natural structure.
This striking corner of the garden demonstrates the thoughtful interplay of hardscape and softscape that defines the Desert Botanical Garden’s architecture. Though no single architect is credited with the entire garden, its development reflects the influence of regional modernist principles—especially the mid-century integration of natural materials, clean lines, and native plants to create a harmonious Southwestern aesthetic. The use of mosaic tile adds a dynamic, artistic element that comes alive under the warm luminaria glow.
By night, this scene becomes a study in contrasts—sharp edges softened by candlelight, cool desert air warmed by golden hues. Las Noches de las Luminarias transforms the already-stunning garden into an immersive experience, where light and landscape meet art and intention.
Visitors are encouraged to linger, admire the plant architecture, and appreciate the design details so often missed in daylight. This space isn’t just beautifully lit—it’s thoughtfully curated, providing a moment of desert serenity and modern elegance amidst the holiday glow.
2005
Fremont Middle School
“Garden of the Imagination”
35’x7’ handmade tile mural
Created with the help of over 800 students, staff and teachers!
Artaic’s custom designed mosaic panels are featured prominently at Ristorante Luce, a revitalized New York restaurant, combining traditional mosaic design with a contemporary application. Patrons are greeted in the entry foyer by two eight foot high vibrant floral mosaics, while two equally impressive panels bring a tangible energy to the interior space, with the unique backlit technology making them highly distinctive conversation pieces.
The mosaics display images of traditional floral still life, both in a traditional arrangement and in a more modern representation. Using 3/8” vitreous glass, Artaic used 60,500 tiles to produce the 85 square feet of mosaic imagery. A mixture of translucent and semi-opaque tiles allow for the LED backlight to create an exquisite variable intensity glow as the ambient light wanes.
The exclusive translucent grout from Star Quartz causes the grout lines to take on neighboring tile color, and practically vanish with backlighting.
See more at Artaic's Website
Hi Ian
Here are a couple of photos of the recently installed mural. Really pleased with the look. If you need anymore photos, please do let me know.
Best wishes
Ray