U.S. Department of Agriculture (USDA) People’s Garden Executive Master Gardeners, friends, and family, along with Washington Capitals fans are volunteering in District of Columbia Public Schools’ (DCPS) Beautification Day, on Saturday, August 25, 2012, at Thurgood Marshall Elementary School, in Washington, D.C. Each year people are invited to help “spruce up” public school facilities in preparation for the first day of school. More than 70 volunteers pitched in at this large school facility. The People’s Garden effort involves building and painting raised planter boxes, then preparing the soil mixture so they are “ready to grow.” Additionally, a team that includes descendants of U.S. Supreme Court Justice Thurgood Marshall assembles a prefabricated garden toolshed. The Justice’s son, John Marshall leads the team, which includes Brianna the Justice’s great-grand daughter in one of many multi-generational efforts at this school today. Washington Capitals Forward Mike Riberio, his family and mascot Slapshot participated in every project underway at Marshall School. From the outside gardens, to inside mural painting, and robotics worktable construction, the teams made their goals. USDA Photo by Lance Cheung.

Chalon cabinets, need to be seen in person to fully appreciate the quality craftsmanship and hand finishing that is a hallmark of our furniture.

www.maryjanestearoom.com

The Chalon worktable is one of those classic chalon pieces that is often emulated but never equalled. The sheer weight and scale of these pieces impose warm authority into the space the occupy. Instantly calming and restorative. Clients can be reassured that they will preserve their values for the years ahead.

Boudoir from the Hôtel de Crillon

•Designer: Pierre-Adrien Paris (French, 1747-1819)

•Date: ca. 1777-1780

•Culture: French, Paris

•Medium: Oak, painted and gilded

•Dimensions:

oOverall: 9 ft. 3½ in. × 15 ft. 5½ in. × 14 ft. 3 in. (283.2 × 471.2 × 435.6 cm)

•Classification: Woodwork

•Credit Line: Gift of Susan Dwight Bliss, 1944

•Accession Number: 44.128

On view at The Met Fifth Avenue in Gallery 546.

[Arabesques] are an inexhaustible source of ways to decorate in a beautiful style the interior and exterior of modern buildings, furniture, and even clothes.

—Charles-Louis Clérisseau, 1779

Delightful arabesques painted in pastel colors on a soft blue ground form the chief decoration of this paneling, which once lined the walls of a boudoir located next to the bedroom of Louis-Marie-Augustin, fifth duc d’Aumont (1709-1782), one of the four First Gentlemen of the King’s Bedchamber. In 1776 he rented an unfinished town house that had been constructed for the builder and entrepreneur Louis-François Trouard (1729-1794). It was one of several private mansions erected behind a facade built in a grand Neoclassical style by Jacques-Ange Gabriel (1698-1782) on the place Louis XV, now the place de la Concorde.

A man of taste as well as a significant art collector, the duc d’Aumont engaged the architect Pierre-Adrien Pâris to design the interior decoration for his new abode. Having studied in Rome, partly at the duke’s expense, Pâris would have been familiar with the early sixteenth-century decorative wall paintings executed by Raphael and his assistants in the Vatican loggias. Raphael’s work clearly served as inspiration for the embellishment of the Museum’s paneling, as it shows similar charming and lighthearted motifs, such as small animals balancing on garlands and rolling acanthus scrolls. The exterior windows of this intimate polyhedral boudoir, which was painted by an unknown artist, gave access to a balcony with views toward the rue des Champs-Élysées (now the rue Boissy d’Anglas). Set into the wall paneling are four mirrors angled to reflect the arabesque decoration. (The mirror inside the niche is a replacement for the original pane of clear glass that allowed light to shine into the stairwell behind the room.) According to the 1782 inventory drawn up after the duke’s death, the boudoir was furnished with four stools, two armchairs, and an ottomane, or comfortable sofa, described as having three backs. Each stool was most likely placed under one of the mirrors, and the ottomane, complete with cushions, pillows, and bolsters, must have stood inside the niche. All the seat furniture was upholstered in blue moiré silk, the same color as that of the gros de Tours (ribbed silk) curtains. Although most of the furnishings and collections of the duc d’Aumont were sold at a celebrated auction that took place in the house in 1782, the woodwork of this room stayed in the building. The hôtel was acquired six years later by François-Félix-Dorothée des Balbes de Berton, comte de Crillon (1748-1820), and it remained the property of his descendants until the early twentieth century.

Epigraph. Quoted in Hautecoeur 1912, p. 46.

Provenance

Hôtel de Crillon, 10, Place de la Concorde, Paris, France; Louis Trouard (by 1776); Félix François Dorothée Berton des Balbes, Comte de Crillon (1788-d. 1827); Marie Louise Amélie Berton des Balbes (duchesse de Polignac) (until d. 1904); Duc(s) de Polignac (until 1906; sold to Bliss, through Mme Gaëton Désache (née Flandin), January 13, 1906); Mrs. George T. Bliss (from 1906); Susan Dwight Bliss , New York (until 1944; to MMA)

Timeline of Art History

•Timelines

oFrance, 1600-1800 A.D.

MetPublications

•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art

•Period Rooms in The Metropolitan Museum of Art

•Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century

Carpet

•Manufactory: Beauvais

•Date: ca. 1787-1790

•Culture: French, Beauvais

•Medium: Wool

•Dimensions:

oOverall (Confirmed): 102¾ × 66½ in. (261 × 168.9 cm)

•Classification: Textiles-Rugs

•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1976

•Accession Number: 1976.155.102

On view at The Met Fifth Avenue in Gallery 546.

Provenance

Mr. and Mrs. Charles Wrightsman, New York (until 1976; to MMA).

Timeline of Art History

•Timelines

oFrance, 1600-1800 A.D.

MetPublications

•The Wrightsman Collection. Vols. 1 and 2, Furniture, Gilt Bronze and Mounted Porcelain, Carpets

•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art

Side Chair

•Maker: Bovo

•Date: ca. 1780-1785

•Culture: French

•Medium: Carved and Gilded Beechwood, Covered in 18th-Century Cream-Colored Silk Tabby Upholstery

•Dimensions: 34⅝ × 21 × 19 in. (87.9 × 53.3 × 48.3 cm)

•Classification: Woodwork-Furniture

•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1977

•Accession Number: 1977.213

On view at The Met Fifth Avenue in Gallery 546.

Signatures, Inscriptions, and Markings

•Inscription:

oStamped Under Front Seat Rail: BOVO

Provenance

Mr. and Mrs. Charles Wrightsman, New York (until 1977; to MMA).

Timeline of Art History

•Timelines

oFrance, 1600-1800 A.D.

Armchair (Bergère) (Part of a Set)

•Maker(s): Jean-Baptiste-Claude Sené (1748-1803); Painted and Gilded by Louis-François Chatard (ca. 1749-1819)

•Date: ca. 1788

•Culture: French, Paris

•Medium: Carved, painted and gilded walnut; modern cotton twill embroidered in silk

•Dimensions:

oOverall: 39 × 27¼ × 25¼ in. (99.1 × 69.2 × 64.1 cm)

•Classification: Woodwork-Furniture

•Credit Line: Gift of Ann Payne Blumenthal, 1941

•Accession Number: 41.205.2

On view at The Met Fifth Avenue in Gallery 546.

Made for Marie-Antoinette’s dressing room at the château de Saint Cloud. The queen’s initials are carved on the top rail.

Provenance

Marie Antoinette, Queen of France, Cabinet de Toilette, Palace of Saint-Cloud, France (by 1788); Marquis de Casaux (until 1923; sale, Hôtel Drout, Paris, December 21, 1923, No. A); George and Florence Blumenthal (from 1923); Ann Payne Blumenthal (until 1941; to MMA).

Timeline of Art History

•Essays

oFrench Furniture in the Eighteenth Century: Seat Furniture

oThe Golden Age of French Furniture in the Eighteenth Century

•Timelines

oFrance, 1600-1800 A.D.

MetPublications

•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art

•“French Royal Furniture in The Metropolitan Museum of Art”: The Metropolitan Museum of Art Bulletin, v. 63, no. 3 (Winter, 2006)

•European Furniture in The Metropolitan Museum of Art: Highlights of the Collection

•Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century

Candelstand and Worktable (Table à Ouvrage en Guéridon)

•Maker: Attributed to Roger Vandercruse, called Lacroix (French, 1727-1799)

•Factory: Porcelain plaques by Sèvres Manufactory (French, 1740-Present)

•Decorator: Porcelain plaques decorated by Charles Vandé (French, active 1785-91)

•Date: ca. 1785

•Culture: French, Sèvres

•Medium: Oak veneered with tulipwood, boxwood, holly and ebonized holly, sycamore, and other woods; soft-paste porcelain, gilt bronze, silk

•Dimensions:

oHeight: 31⅛ in. (79.1 cm)

oDiameter of Top: 14⅝ in. (37.1 cm)

•Classification: Woodwork-Furniture

•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1976

•Accession Number: 1976.155.106

On view at The Met Fifth Avenue in Gallery 546.

The top of this elegant worktable was meant to be used as a guéridon, to support a candelstick offering light when the owner, most likely an aristocratic woman, was working on her needlepoint or sewing at night.

Signatures, Inscriptions, and Markings

•Marking:

oGlazed on Back of Plaque and Painted in Gold: interlaced Ls enclosing GG with letter V below [Sèvres factory mark with date-letters for 1784]

Provenance

The Lords Hillingdon, London; Edith Chester Beatty, London; Mr. and Mrs. Charles Wrightsman, New York (until 1976; to MMA)

Timeline of Art History

•Timelines

oFrance, 1600-1800 A.D.

MetPublications

•The Wrightsman Collection. Vols. 1 and 2, Furniture, Gilt Bronze and Mounted Porcelain, Carpets

U.S. Department of Agriculture (USDA) People’s Garden Executive Master Gardeners, friends, and family, along with Washington Capitals fans are volunteering in District of Columbia Public Schools’ (DCPS) Beautification Day, on Saturday, August 25, 2012, at Thurgood Marshall Elementary School, in Washington, D.C. Each year people are invited to help “spruce up” public school facilities in preparation for the first day of school. More than 70 volunteers pitched in at this large school facility. The People’s Garden effort involves building and painting raised planter boxes, then preparing the soil mixture so they are “ready to grow.” Additionally, a team that includes descendants of U.S. Supreme Court Justice Thurgood Marshall assembles a prefabricated garden toolshed. The Justice’s son, John Marshall leads the team, which includes Brianna the Justice’s great-grand daughter in one of many multi-generational efforts at this school today. Washington Capitals Forward Mike Riberio, his family and mascot Slapshot participated in every project underway at Marshall School. From the outside gardens, to inside mural painting, and robotics worktable construction, the teams made their goals. USDA Photo by Lance Cheung.

The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.

These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.

I implemented my pattern sheets on earrings & beads.

The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –

Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.

This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.

20 patterns came out of my personal laboratory, but the combinations are infinite!

www.polypediaonlineexpress.com/product/complete-inkredibl...

If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -

www.polypediaonlineexpress.com/inkredible2-inkredible-mac...

polymer clay, polymer clay tutorials, polymer clay alcohol inks, micro macrame tutorials, polymer clay how to, how to polymer clay, surface techniques, polymer clay ink

Nearly forgot today! have a great week everyone and hope you enjoy some of my favourite pics from the past week.

1. on my Dining table, 2. 穿着图, 3. TTANG KKO MA, 4. Mods&Rockers1, 5. Picture 009, 6. spolverini, 7. Ruruko & Momoko, 8. kk, 9. Christmas in the Madhouse, 10. さあ、搬入の為に梱包だよ(´･ω･` )お別れは悲しいなあ(´･ω･` ), 11. Untitled, 12. Worktable!!!, 13. Emilia, 14. Antique dress, 15. "To the Sea" fabric pinnie, 16. Illustration spatula, 17. stock of happiness, 18. Mary Janes and Espadrilles for (resin and porcelain) Enchanted Dolls by Rosa, 19. PLAY, 20. this little girl has captured my heart...

Created with fd's Flickr Toys

Check out this new colour matched Britannia oven, built into a signature Chalon Worktable, on show now in our King’s Road, London showroom.

Perfect for when a kitchen already has an Aga and a backup cooker is required.

It fits seamlessly into a Chalon Worktable and can be colour matched to any of our colours. This one shown is Chalon’s Vintage Burnt Umber finish.

Hand distressed number 3 potboards on the worktable.

Dark colours and contemporary knobs ensure that this design remains clean and sharp but keeps its timeless appeal.

The Chalon worktable is one of those classic chalon pieces that is often emulated but never equalled. The sheer weight and scale of these pieces impose warm authority into the space the occupy. Instantly calming and restorative. Clients can be reassured that they will preserve their values for the years ahead.

We had great fun with this shoot that we also dressed and shot for our Christams card!

This one of a series of books made from the paper I place on my worktable. They form a diary of marks related to the period of time they are in place. Some have dates, this one does not. The paper here is a heavy cartridge paper, the front nad back covers have been coated in beeswax to give them some strength.

This particular book was produced in 2012 whilst preparing for my Painting with Natural Dyes workshop.

It has a tape binding, so all pages will open flat, the tape used is naturally dyed silk which has then been made into silk string which wraps around the book and is tied to secure it. It has been hand bound using a linen thread.

There are some awesome marks in this book, many pages appear to be maps of myserious places. There is quite a bit of colour in this book, featuring experiments with natural dye pigments to make paint such as , cochineal, logwood, indigo, madder, alkanet, lac and querabacho also play with tea and dandelion coffee.

This book can either be left as an artist's book or you can enter into a collaboration with me

by working into the pages

If you do that please share the results with me

Book is 7.5 x 10.5 cm (3 x 41/2") and has 62 pages.

Harrogate showroom images of the recently revamped displays.

Scotland Street School (Honeyman, Keppie & Mackintosh [with Charles Rennie Mackintosh in the lead], 1903-1906). Since 1990, it's been the Scotland Street School Museum, offering visitors a view of Mackintosh's architecture and period rooms revealing the history of 20th-century schooling in Scotland. Currently, it's undergoing renovations to enable portions of the building to return to nursery and school functions, in addition to the museum.

A perfect addition to your existing kitchen, the round worktable! Clients can be reassured that Chalon furniture will preserve its value for many years ahead.

Welcome to SugarPlumDolls.com I think my cute clothespin dolls make fabulous Christmas ornaments or gifts BUT are now also available as greetings cards, postcards and more..Just to let you know all dolls are individually handcrafted clothespin dolls and make very special gifts or can be used as a holiday ornament. I think they add a personal touch to the holidays! It takes me about 2 to 3 days to make each doll. Each doll has her own personality. No two dolls are alike, some dolls may be similar but because of the handmade process each doll is unique. Some dolls may have slight imperfections in the wood, but aren't we all a little less than perfect! Each doll arrives on my worktable as a blank slate. After I draw on the face, paint the hair and body, then I glue the head to the body then wait a day for the paint and glue to dry. I have a treasure trove of fabric and tulle and I begin to craft an outfit and accessories for each girl. I hope you will enjoy your visit here. You can shop for an actual doll online at www.etsy.com/shop/clothespindolls or visit me on YouTube at youtube.com/clothespindoll where I show you how to make your own Sugar Plum Clothespin dolls and other cute handmade items. Enjoy the day!

Seen Here in our Harrogate store.

Skin: Essences - Jamie in Medium.02 (gift) ♥

Hair: D!va - "Naomi" in Black Amber (comes with/without texture change scarf; past gift)

Eyes: VerseEye - Rhythm in Pink

Shirt: Milk Motion - Queen tee in white (gift)

Pants: MAAI - "Toot" pants in Peach (new!)

Shoes: Insanya - Kat Boots Sport in Black

Glasses: !df - Round Glasses (not available anymore)

Poses: Frakture Poses - Female model/blogger 2 & Male model/blogger 1 (SLFO gift)

Canvas sign: Free Bird - Darker Side Canvas (Erotigacha item)

Table: Soy - worktable (gift)

Folded shirts: Soy - Folded Tee (gift)

Flowers: The Mustard Seed - hydrangeas in vintage vase

Books: BananaN - full perm mesh book (not available anymore)

Coffee: Dutchie - Coffee mug stand (marketplace gift)

Key: EntecMedia - skeleton key 5 (marketplace gift)

Open book: What Next - Alone reading book (wear me)

(Note: I had to remove the links from flickr. This was an older sponsored post that might no longer be available on my blog.)

Akseli Gallen-Kallelan työpöytä ateljeessa pian hänen kuolemansa jälkeen

Akseli Gallen-Kallela kuoli 7.3.1931 keuhkokuumeeseen Tukholmassa paluumatkalla Kööpenhaminasta. Taiteilijan kuoleman jälkeen Tarvaspään ateljeekoti koki monenlaisia vaiheita, mutta lopulta se avattiin Gallen-Kallelan Museona 16. toukokuuta 1961.

Kuvauspaikka: Tarvaspää, Espoo, Suomi

ajoitus: 1931

kuvaaja:

mitat: 139 x 190 mm

tekniikka: valokuvavedos

merkintöjä: 6)Isän työpöytää Tarvaspään ateljeessa 1931./ Omist. K.G.K.

inventointinumero: kot. 6/19

kokoelma: Akseli Gallen-Kallelan valokuvakokoelma

Luetteloitu vapaaehtoisvoimin Akselin kuvatalkoissa 2016

tutki lisää / explore further:

www.gallen-kallela.fi

www.halooakseli.fi

Tiedätkö lisää tästä kuvasta? Kerro meille!

Do you have information on this photo? Let us know!

Still Life with Carp

Abraham van BEYEREN

The Hague, 1620-21 - Overschie, 1690

H. 0.73 m; W. 0.61 m

Abraham van Beyeren specialized in paintings of fish, notably during his earliest period. This picture is a fine example, painted when Van Beyeren was a young artist, circa 1645-1650, under the influence of Pieter de Putter.

Later in his career, he extended his subject-matter to include sumptuous banqueting-tables, and ornate still-lifes featuring virtuoso depictions of abundant, luxurious foodstuffs and objects.

A massive rustic table, probably a kitchen worktable, supports a deceptively haphazard pile of fish – a pike, lying diagonally across the front of the composition, with its stomach cut open; a bream (or perhaps another carp) with its head sticking out over the left-hand side of the tabletop; three small perch with faint stripes along their backs, and red fins; two roach with orange-colored eyes, and a chub lying on its back, apparently emerging from a sort of net. This pile of freshwater fish has apparently been freshly caught. Their gleaming, silvery scales look disconcertingly alive. The fish are arranged in a clever composition of criss-crossing diagonals, with a subtle, almost monochrome palette of colors. The interplay of delicate tones and fleeting reflections bathes the picture in a strange, almost aquatic light.

www.louvre.fr/en/oeuvre-notices/still-life-carp

"The Musée du Louvre, or officially Grand Louvre — in English, the Louvre Museum or simply the Louvre — is one of the world's largest museums, the most visited art museum in the world and a historic monument. A central landmark of Paris, it is located on the Right Bank of the Seine in the 1st arrondissement (district). Nearly 35,000 objects from prehistory to the 19th century are exhibited over an area of 60,600 square metres (652,300 square feet).

The museum is housed in the Louvre Palace (Palais du Louvre) which began as a fortress built in the late 12th century under Philip II. Remnants of the fortress are still visible. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of antique sculpture.

The museum opened on 10 August 1793 (the first anniversary of the monarchy's demise) with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The size of the collection increased under Napoleon and the museum was renamed the Musée Napoléon. After the defeat of Napoléon at Waterloo, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and gifts since the Third Republic, except during the two World Wars. As of 2008, the collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.

By 1874, the Louvre Palace had achieved its present form of an almost rectangular structure with the Sully Wing to the east containing the square Cour Carrée and the oldest parts of the Louvre; and two wings which wrap the Cour Napoléon, the Richelieu Wing to the north and the Denon Wing, which borders the Seine to the south. In 1983, French President François Mitterrand proposed the Grand Louvre plan to renovate the building and relocate the Finance Ministry, allowing displays throughout the building. Architect I. M. Pei was awarded the project and proposed a glass pyramid to stand over a new entrance in the main court, the Cour Napoléon. The pyramid and its underground lobby were inaugurated on 15 October 1988. The second phase of the Grand Louvre plan, La Pyramide Inversée (The Inverted Pyramid), was completed in 1993."

The Louvre Pyramid (Pyramide du Louvre) is a large glass and metal pyramid, surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris.

Visitors entering through the pyramid descend into the spacious lobby then re-ascend into the main Louvre buildings. The Louvre museum states that the finished pyramid contains 673 glass panes (603 rhombi and 70 triangles)."

Wikipedia

The broken pediment and hand painted effect - specially created by our in house artist ensure that this four door housekeeper's cupboard maintains a gravitas that few furniture makers can lay claim to.

Sarah and Ophelia enjoy tea in the Mill House Hambridge

Walls of books, ribbons, supplies and more

Publication: 1944

Language(s): English

Format: Still image

Subject(s): Laboratories,

Military Personnel,

Schools, Medical

Laboratory Personnel

Genre(s): Pictorial Works

Abstract: Interior view: a room with shelves of equipment and/or specimens, work tables, a desk, and microscopes; one man sits at a desk looking into a microscope, a second man is placing something inside a cage, a third man stands looking on.

Extent: 1 photographic print : 21 x 26 cm.

Technique: black and white

NLM Unique ID: 101394457

NLM Image ID: A02038

Permanent Link: resource.nlm.nih.gov/101394457

Dark colours and contemporary knobs ensure that this design remains clean and sharp but keeps its timeless appeal.

The distressing softens the look of this Chalon piece.

A round Chalon worktable.

Boudoir from the Hôtel de Crillon

•Designer: Pierre-Adrien Paris (French, 1747-1819)

•Date: ca. 1777-1780

•Culture: French, Paris

•Medium: Oak, painted and gilded

•Dimensions:

oOverall: 9 ft. 3½ in. × 15 ft. 5½ in. × 14 ft. 3 in. (283.2 × 471.2 × 435.6 cm)

•Classification: Woodwork

•Credit Line: Gift of Susan Dwight Bliss, 1944

•Accession Number: 44.128

On view at The Met Fifth Avenue in Gallery 546.

[Arabesques] are an inexhaustible source of ways to decorate in a beautiful style the interior and exterior of modern buildings, furniture, and even clothes.

—Charles-Louis Clérisseau, 1779

Delightful arabesques painted in pastel colors on a soft blue ground form the chief decoration of this paneling, which once lined the walls of a boudoir located next to the bedroom of Louis-Marie-Augustin, fifth duc d’Aumont (1709-1782), one of the four First Gentlemen of the King’s Bedchamber. In 1776 he rented an unfinished town house that had been constructed for the builder and entrepreneur Louis-François Trouard (1729-1794). It was one of several private mansions erected behind a facade built in a grand Neoclassical style by Jacques-Ange Gabriel (1698-1782) on the place Louis XV, now the place de la Concorde.

A man of taste as well as a significant art collector, the duc d’Aumont engaged the architect Pierre-Adrien Pâris to design the interior decoration for his new abode. Having studied in Rome, partly at the duke’s expense, Pâris would have been familiar with the early sixteenth-century decorative wall paintings executed by Raphael and his assistants in the Vatican loggias. Raphael’s work clearly served as inspiration for the embellishment of the Museum’s paneling, as it shows similar charming and lighthearted motifs, such as small animals balancing on garlands and rolling acanthus scrolls. The exterior windows of this intimate polyhedral boudoir, which was painted by an unknown artist, gave access to a balcony with views toward the rue des Champs-Élysées (now the rue Boissy d’Anglas). Set into the wall paneling are four mirrors angled to reflect the arabesque decoration. (The mirror inside the niche is a replacement for the original pane of clear glass that allowed light to shine into the stairwell behind the room.) According to the 1782 inventory drawn up after the duke’s death, the boudoir was furnished with four stools, two armchairs, and an ottomane, or comfortable sofa, described as having three backs. Each stool was most likely placed under one of the mirrors, and the ottomane, complete with cushions, pillows, and bolsters, must have stood inside the niche. All the seat furniture was upholstered in blue moiré silk, the same color as that of the gros de Tours (ribbed silk) curtains. Although most of the furnishings and collections of the duc d’Aumont were sold at a celebrated auction that took place in the house in 1782, the woodwork of this room stayed in the building. The hôtel was acquired six years later by François-Félix-Dorothée des Balbes de Berton, comte de Crillon (1748-1820), and it remained the property of his descendants until the early twentieth century.

Epigraph. Quoted in Hautecoeur 1912, p. 46.

Provenance

Hôtel de Crillon, 10, Place de la Concorde, Paris, France; Louis Trouard (by 1776); Félix François Dorothée Berton des Balbes, Comte de Crillon (1788-d. 1827); Marie Louise Amélie Berton des Balbes (duchesse de Polignac) (until d. 1904); Duc(s) de Polignac (until 1906; sold to Bliss, through Mme Gaëton Désache (née Flandin), January 13, 1906); Mrs. George T. Bliss (from 1906); Susan Dwight Bliss , New York (until 1944; to MMA)

Timeline of Art History

•Timelines

oFrance, 1600-1800 A.D.

MetPublications

•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art

•Period Rooms in The Metropolitan Museum of Art

•Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century

Candelstand and Worktable (Table à Ouvrage en Guéridon)

•Maker: Attributed to Roger Vandercruse, called Lacroix (French, 1727-1799)

•Factory: Porcelain plaques by Sèvres Manufactory (French, 1740-Present)

•Decorator: Porcelain plaques decorated by Charles Vandé (French, active 1785-91)

•Date: ca. 1785

•Culture: French, Sèvres

•Medium: Oak veneered with tulipwood, boxwood, holly and ebonized holly, sycamore, and other woods; soft-paste porcelain, gilt bronze, silk

•Dimensions:

oHeight: 31⅛ in. (79.1 cm)

oDiameter of Top: 14⅝ in. (37.1 cm)

•Classification: Woodwork-Furniture

•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1976

•Accession Number: 1976.155.106

On view at The Met Fifth Avenue in Gallery 546.

The top of this elegant worktable was meant to be used as a guéridon, to support a candelstick offering light when the owner, most likely an aristocratic woman, was working on her needlepoint or sewing at night.

Signatures, Inscriptions, and Markings

•Marking:

oGlazed on Back of Plaque and Painted in Gold: interlaced Ls enclosing GG with letter V below [Sèvres factory mark with date-letters for 1784]

Provenance

The Lords Hillingdon, London; Edith Chester Beatty, London; Mr. and Mrs. Charles Wrightsman, New York (until 1976; to MMA)

Timeline of Art History

•Timelines

oFrance, 1600-1800 A.D.

MetPublications

•The Wrightsman Collection. Vols. 1 and 2, Furniture, Gilt Bronze and Mounted Porcelain, Carpets

Close up of the open worktable showing the polished base

Up at our Harrogate showroom some images of the recently revamped displays – the combination of new furniture and new finishes from the Chalon colour palette look great:

Dark colours and contemporary knobs ensure that this design remains clean and sharp but keeps its timeless appeal.

I recently went to an Empty Spools Seminar at Asilomar in Pacific Grove, CA and took a class in free motion machine quilting with Jill Schumacher. Great class!

Blogged here: My first attempt at trapunto, learned at a Jill Schumacher class.

Blogged here: www.lemontreetales.com/lemon_tree_tales/2013/03/empty-spo...

Public Domain image from The Rijksmuseum. Digitally enhanced by rawpixel.

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/53/public-domain

Still Life with Carp

Abraham van BEYEREN

The Hague, 1620-21 - Overschie, 1690

H. 0.73 m; W. 0.61 m

Abraham van Beyeren specialized in paintings of fish, notably during his earliest period. This picture is a fine example, painted when Van Beyeren was a young artist, circa 1645-1650, under the influence of Pieter de Putter.

Later in his career, he extended his subject-matter to include sumptuous banqueting-tables, and ornate still-lifes featuring virtuoso depictions of abundant, luxurious foodstuffs and objects.

A massive rustic table, probably a kitchen worktable, supports a deceptively haphazard pile of fish – a pike, lying diagonally across the front of the composition, with its stomach cut open; a bream (or perhaps another carp) with its head sticking out over the left-hand side of the tabletop; three small perch with faint stripes along their backs, and red fins; two roach with orange-colored eyes, and a chub lying on its back, apparently emerging from a sort of net. This pile of freshwater fish has apparently been freshly caught. Their gleaming, silvery scales look disconcertingly alive. The fish are arranged in a clever composition of criss-crossing diagonals, with a subtle, almost monochrome palette of colors. The interplay of delicate tones and fleeting reflections bathes the picture in a strange, almost aquatic light.

www.louvre.fr/en/oeuvre-notices/still-life-carp

"The Musée du Louvre, or officially Grand Louvre — in English, the Louvre Museum or simply the Louvre — is one of the world's largest museums, the most visited art museum in the world and a historic monument. A central landmark of Paris, it is located on the Right Bank of the Seine in the 1st arrondissement (district). Nearly 35,000 objects from prehistory to the 19th century are exhibited over an area of 60,600 square metres (652,300 square feet).

The museum is housed in the Louvre Palace (Palais du Louvre) which began as a fortress built in the late 12th century under Philip II. Remnants of the fortress are still visible. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of antique sculpture.

The museum opened on 10 August 1793 (the first anniversary of the monarchy's demise) with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The size of the collection increased under Napoleon and the museum was renamed the Musée Napoléon. After the defeat of Napoléon at Waterloo, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and gifts since the Third Republic, except during the two World Wars. As of 2008, the collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.

By 1874, the Louvre Palace had achieved its present form of an almost rectangular structure with the Sully Wing to the east containing the square Cour Carrée and the oldest parts of the Louvre; and two wings which wrap the Cour Napoléon, the Richelieu Wing to the north and the Denon Wing, which borders the Seine to the south. In 1983, French President François Mitterrand proposed the Grand Louvre plan to renovate the building and relocate the Finance Ministry, allowing displays throughout the building. Architect I. M. Pei was awarded the project and proposed a glass pyramid to stand over a new entrance in the main court, the Cour Napoléon. The pyramid and its underground lobby were inaugurated on 15 October 1988. The second phase of the Grand Louvre plan, La Pyramide Inversée (The Inverted Pyramid), was completed in 1993."

The Louvre Pyramid (Pyramide du Louvre) is a large glass and metal pyramid, surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris.

Visitors entering through the pyramid descend into the spacious lobby then re-ascend into the main Louvre buildings. The Louvre museum states that the finished pyramid contains 673 glass panes (603 rhombi and 70 triangles)."

Wikipedia

aspen, colorado

late 1975

inside nick's "mad lab"

part of an archival project, featuring the photographs of nick dewolf

© the Nick DeWolf Foundation

Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com

Dennis will return to Kenya in a week or so. Here I am

sitting with Dennis at Josephine & Caroline's worktable.

Photo taken by Irene.

here is another sketch from one of my old sketchbooks; this is dated from the summer of 1984 and is a pen & ink sketch of my drawing board, adjustable light and a worktable on which I had been working on a scale model for a house renovation project

Welcome to our second set - "Building a Mill Creek 16.5". After finishing two Chesapeake 16 kayaks for the kids, Mom and I decided we wanted a double kayak that we could also sail. The Chesapeake Light Craft Mill Creek 16.5 design seems to have what we were looking for. We reassembled the worktable, ordered the plans and started construction on January 20, 2007.