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For many years this table was considered the ultimate masterpiece of late 18th century English marquetry furniture.
The table was supplied by Chippendale to his great patron Edwin Lascelles at Harewood House at a date between 1769 (when the first orders were placed) and December 1772 when a statement revealed £3,024 -19 - 0d outstanding on the account. Further evidence shows that Chippendale's foreman was making covers for this table and its accompanying stool (still at Harewood) in April 1772.
Writing on the wall says that few of the accounts has not yet completed - found at a dhobi ghat..
2012_03_17_peters-road-182
I hope you are able to read my writing without too much difficulty... it is getting worse! Hopefully it will improve as I gain more strength.
I am improving, health wise, but it seems to be a very slow process. I am so grateful that I am as well as I am... especially when I see what some of the other tenants have to endure. They inspire me to keep working at getting back to "normal".
I found this window writing in an empty classroom at Kabul University. The window was illuminated by the early morning light as water droplets slowly condensed into small trickles that ran down the glass. The colors and shapes outside became more distinct as the writing disappeared.
Stummfilme konnten im Lichtwerk immer fachgerecht im richtigen Format und der korrekten Geschwindigkeit gezeigt werden. Zum 10jährigen Jubiläum Besonders Wertvoll war Pianist Joachim Bärenz aus Essen zu Gast.
Just a corner of my old writing desk, plus a new cracker that we just discovered and fell in love with!
@ Da Lat, Vietnam.
When I saw the scene, I couldn't help imaging the story of the old man. Writing an email to home; he is a journelist; or actually he is a novelist composing a story happened in South Asia...
For me, the imagined story is much more interesting than the image itself.
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Have a nice day!
Souvenir Menu from the WWII collection of William Nelson Black.
Provided by daughter Marsha Black.
The image on the left is the Cover and the right half is the first page showing the Christmas Dinner menu. Pages following show the roster of men stationed at the Canal Zone at the time. These are remarkable items from that era.
Harry Beanham must have been reading this issue, he wrote away to "Overseas Sales, Ltd. after he bought his Gnome Rhone....go back to
www.flickr.com/photos/29460210@N08/7899651548/in/photolis...
Podcasting shownotes in a Moleskine. Recording with a Sony ICD MX-20 digital dictaphone using Podsafe Music on my iPod.
My first try at constructing a script and alphabet... Interesting result, definitely a learning experience.
it reads:
"All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood."
Matenasaran Manuscript Museum
The Mesrop Mashtots Institute of Ancient Manuscripts holds one of the world's richest depositories of a collection of nearly 17,000 manuscripts and 30,000 other medieval documents and books which span a broad range of subjects, including history, philosophy, medicine, literature, art history and cosmography in Armenian and many other languages.
The English speaking
guide did not turn up as promised at 09:30, so Jenna did her best to explain the exhibits to us. Only one room was open to the public, which was just as well, I didn't fancy trawling through 30,000+ books....
The oldest book in the museum is from the 5th century, and the oldest printed book from just a mere 30 years after the very first book was printed in Venice. When you think how old those colourful illustrations are, and how painstakingly each had to be produced by hand, it becomes quite overwhelming. I am fascinated with the Armenian alphabet with its 39 characters, some of which may have a slightly different intonations as far as the Armenians are concerned, but sound the same to me. Jenna has been trying to teach me a little every day, but I am struggling to get my tongue around some of their sounds. They also don't have different words for he and she, so Jenna often gets confused, and as a result so do we. Musical notes are also different in Armenian to the ones at home.
Detail: Central panel of the triptych, the artist's general concept for PROCRUSTES INN REGISTER
1992-1997
Wood, graphite, colored pencil, acrylic, modeling paste
One element of the PROCRUSTES TRILOGY:
Procrustes In Situ
Oratorio--variation on a Theme by Joseph Bor
Martyrs of the Cities of the Plain
Below is a transcription of the artist's words above:
Procrustes Inn Register
Language: Words symbols signs
Anti-book: That used to illustrate drawings–endless flow of rhetorical questions—earless. Embossing to distort text in order to enhance and refine four-torso relief through stretched fabric of colored print into a chiaro-scurro texture of sculptural definition. Written text to extend across 70" x 6" of alloted space to be broken later into seven 10" x 6" sections. Color of print to run from red to the fourth plate to be a true purple. Pagination to follow rotational sequence of four torso relief rather than a readable sequence of text. Words to exist merely as decoration for the visual language of sign and symbol....illustrations...illuminations. Rhetoric and word meanings to relate directly to color sequence and depth of the embossed relief...greatest emotional content to occur in the triangular plates 3, 4 and 5. Intensity of words and phrases to be most strong through the middle 4" of text running the entire span of verbal texture—red to blue to become explosive through the 3rd, 4th and 5th plates. Violent cutting, castrating words—inn words. Procrustean: nigger faggot cunt kike greaser slant—spelling, phrasing, grammar, etc. Mutterings and curses...actualization of symbol without intellectual control or restraint....without audience.
Monologues: Addition of two monologues—one at the beginning and one at the end. The voice of the traveler and the voice of the guest. Contained, controlled and directed...as articulate as possible and structured to function as prologue and epilogue for the dramatization that takes place throughout the seven plates. However, this relationship will exist in form only—meaning that the voice in the first monologue is not necessarily the voice in the second transformed through the mitigating pressures within the “whispered” tirade of the text. I know that not every traveler succumbs to the wiles and warfare of Procrustes—some few never enter the inn—never.
Translation of P.I.R. into Procrustes In Situ required a repagination of imagery: The controlled pagination from left to right is thrown open into a free-association of three dimensional sequences. Experimentation with sequential control presents a fascinating invitation to pursue further study of this sort of directed control in future work...the eye seems to seek out the center of the image and read peripherally. Sequencing begins sometime during this initial acclimation in search of comprehension. Once the directional choice occurs, peripheral vision gives way to a selected focussing as the mind directs the journey of the eye following the eye’s initial intuitive response to presented stimuli. Once the mind is engaged, sequencing may or may not become didactic or manipulative depending on the motives and intentions of the creator. The demands upon spatial pagination to sustain sequential movement would be far more complex than those linearly connected through time (music, literature, speech, etc.). Intriguing!
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The PREPARATORY STUDY FOR PROCRUSTES INN REGISTER and for PROCRUSTES IN SITU consists of a triptych of 4’ wide wall panels. The first panel, that on the left, is the preparatory study for each of the seven pages of PROCRUSTES INN REGISTER, writing concerning the structure and the metaphors to be included in the work, and a record of its being created both by the artist and by Brighten Press.
The middle panel is the preparatory study for the sculpture then to be realized in PROCRUSTES IN SITU with a brief statement about each of the “seven beds” within the Inn of Procrustes, that of the father, the young man, fear, tradition, the young woman, the child and the mother.
On the third panel, that on the right, are the preparatory drawings for the tablets which lean against the pedestal of each of the seven beds in PROCRUSTES IN SITU as well as the dialogues between the occupants of the beds and a particular manifestation of Procrustes, and an explanation of these dialogues.
At the bottom of each panel are brief entries by the artist as if in his own diary, personal thoughts and a record of actual events relating directly to the general concept of the restrictive and debilitating power of Procrustes. Within these entries at the bottom of each panel appear three fragments of the running monologue/diatribe of Procrustes that is embossed into the surface of each of the plates of the turning torsos seen at the top of each of the seven pages of PROCRUSTES INN REGISTER, a monologue/diatribe that reads from left to right across all seven of these plates/pages and is as beautiful as it is violent.
Beneath the three panels is the study for the embossing plates which were used in the printing process of Procrustes Inn Register and that appear on the pedestals of each of the seven “beds” of Procrustes In Situ. This “Predella” consists of four torsos in a seven times repeating configuration of male, male, female, female and in which each torso makes a quarter turn, the first figure counter-clockwise, the second clockwise, etcetera, from left to right the entire length of the study. These torsos begin in a relatively shallow relief at the left and emerge ever higher until the fourth repeat after which the torsos again recede into a shallower relief. The embossing of the pages of Procrustes Inn Register reflects this swelling so that at the apex on the fourth page the paper was stretched almost to its capacity.
Collection:
Fresno Art Museum
Fresno, California