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Bareiss Collection Attic Black-Figured Amphorae, Neck-Amphorae, Kraters, Stamnos, Hydriai, and Fragments of Undetermined Closed Shapes
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 23 The J. Paul Getty Museum, Malibu, Fascicule 1 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 1 • [U.S.A. FASCICULE 23] 1988 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fase. 23- ) Vol. i by Andrew J. Clark. At head of title : Union académique internationale. Includes index. Contents: v. i. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes. i. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . II. J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fase. 23, etc. NK4640.C6.U5 fase. 23, etc. 73 8.3'82*0938074 s 88-12781 [NK4Ó24.B3 7] [73 8.3 '82J093 8074019493] ISBN 0-89236-134-4 © 1988 The J. Paul Getty Museum, Malibu, California All rights reserved Library of Congress Cataloging-in-Publication -
12. State Historic Preservation Officer Certification
NPS Form 10-900 (7-81) 024-0018 United States Department off the Interior National Park Service National Register of Historic Places Inventory—Nomination Form See instructions in How to Complete National Register Forms Type all entries—complete applicable sections _____________ 1. Name historic /J.W\)BennjBuilding (Medford Post Office) and/or common Gruener' s Bakery 2. Location street & number 202-204 So*Hb*rMain __ not for publication city, town Medford vicinity of state Wisconsin code 55 code 119 3. Classification Category Ownership Status Present Use district public X occupied agriculture museum X building(s) __X_ private unoccupied X commercial park structure both work in progress educational private residence __ site Public Acquisition Accessible entertainment religious object in process yes: restricted government scientific being considered X yes: unrestricted industrial transportation no military other! 4. Owner of Property name George Gruener street & number 207 East Clark city, town Medford vicinity of state Wisconsin 54451 5. Location of Legal Description courthouse, registry of deeds, etc. Taylor County Courthouse street & number 224 South Second Street city, town Medford state Wisconsin 54451 6. Representation in Existing Surveys__________ Wisconsin Inventory of title Historic Places has this property been determined eligible? __ yes X no date 1976 federal X state __county __local depository for survey records State Historical Society of Wisconsin Wisconsin 53706 city, town Madison state 7. Description Condition Check one Check one X excellent deteriorated unaltered X original s ite _ ruins _JL altered moved date fair unexposed Describe the present and original (iff known) physical appearance Facing south, the two-story cream-brick J.W. -
The Five Later 'Tyrrhenian' Painters
BaBesch 71 (1996) The Five Later ‘Tyrrhenian’ Painters Jeroen Kluiver 1 INTRODUCTION 2.2 Oeuvre a. Amphorae In this article I deal with the five later ‘Tyrrhenian' artisans – Kyllenios Painter, Castellani Painter, Early period Pointed-Nose Painter, Guglielmi Painter and Fallow 104. GOTHA Z.V. 2477, fragmentary. ABV 101.80; Deer Painter – in the same way that I dealt with the Para 38 [D. von Bothmer] 105. DRESDEN Z.V. 1647 (Dr. 209). ABV 105.1 [D. three earlier ‘Tyrrhenian' painters in my previous von Bothmer] article (1995). 106. ST PETERSBURG 1402. ABV 105.3; Add2 28; For each painter I list the vases (divided into three Bothmer CVA, and in Moore 1972, 39: ‘Prometheus or four periods), describe the decorative schemes, Painter', Bothmer 1977, 264 ‘Timiades Painter' note the subjects and remark on style and other [author] characteristics. The inscriptions are treated in short notes; again Professor C.J. Ruijgh kindly com- Middle period 107. BERLIN F 1704. (Fig. 38) ABV 96.14, 683; Para mented on the meaningful ones, among which the 2 Guglielmi Painter's signature on Louvre E 831 36; Add 25 [D. von Bothmer] 108. BONN 37. ABV 99.58, 684; Para 38; Add2 26; (211). Each chapter contains a section on the Kluiver 1993, 193, fig. 10 [D. von Bothmer] painter's relative chronology. 109. FRANKFORT, UNIVERSITY 136, fragmentary. Two extra sections are inserted, one explaining Para 39; Add2 27; CVA 4, pls. 11-13 [D. von why I delete the four dinoi attributed to the Bothmer] Kyllenios Painter (2.8), the other (3.8) explaining why the amphorae which I call broad-shouldered This is the fourth article in my series on the ‘Tyrrhenian' in my second article (1993) are not included in the Group. -
NATIONAL REGISTER of HISTORIC PLACES INVENTORY -- NOMINATION FORM Iiiiiiililti
Form No. 10-300 (Rev. 10-74) DATA SHEE UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE i'^S*wS:'--fe*:H?;*?*s»;: NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM iiiiiiililti SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ___________TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS______ I NAME HISTORIC Hermitage Hotel AND/OR COMMON LOCATION STREET & NUMBER 231 6th Avenue North _NOT FOR PUBLICATION CITY, TOWN CONGRESSIONAL DISTRICT Nashville __ VICINITY OF Fifth STATE CODE COUNTY CODE Tennessee 47 Davidson 037 CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _D I STRICT —PUBLIC 2LOCCUPIED _AGRICULTURE —MUSEUM _2BUILDING(S) .^PRIVATE —UNOCCUPIED —^COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT —IN PROCESS —YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED X.YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION —MILITARY —OTHER: OWNER OF PROPERTY NAME Alsonett Hotels STREET & NUMBER 9 East Huron Street CITY. TOWN STATE Chicago _ VICINITY OF Illinois j LOCATION OF LEGAL DESCRIPTION COURTHOUSE. REGISTRY OF DEEDS. ETC. Register's Office STREET & NUMBER Davidson County Courthouse CITY, TOWN STATE Nashville Tennessee H REPRESENTATION IN EXISTING SURVEYS TITLE DATE —FEDERAL —STATE —COUNTY _LOCAL DEPOSITORY FOR SURVEY RECORDS CITY. TOWN STATE DESCRIPTION CONDITION CHECK ONE CHECK ONE —EXCELLENT —DETERIORATED —UNALTERED ^ORIGINAL SITE X-GOOD —RUINS -XALTERED —MOVED DATE. _FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE The architectural style of the Hermitage Hotel is Beaux Arts Classicism. Exempli fication of the style is found in the arched openings that are situated between coupled columns, the articulated five level composition and the extravagant use of detailing influenced by the French Renaissance style. -
Putti As Moralizers in Four Prints by Master HL Megan L. Erickson A
From the Mouths of Babes: Putti as Moralizers in Four Prints by Master H.L. Megan L. Erickson A thesis submitted in partial fulfilment of requirements for the degree of Masters of Art University of Washington 2014 Committee: Stuart Lingo Estelle Lingo Ivan Drpic Program Authorized to Offer Degree: Art History ©Copyright 2014 Megan L. Erickson 1 Table of Contents INTRODUCTION ……………………………………………………………………………… 1 CHAPTER ONE. The World of Master H.L. …………………………………………………... 4 CHAPTER TWO. Why Putti…………………………………………………………………… 15 CHAPTER THREE. Love’s Folly……………………………………………………………… 22 Eros Balancing on a Ball 22 Eros on a Snail 33 CHAPTER FOUR. The Folly of Carnival……………………………………………………… 39 Two Putti Eating Peas 39 Three Putti with Instruments of the Passion 46 The Importance of Carnival 54 CONCLUSION. The Necessity of the Mundus Inversus……………......................................... 60 APPENDIX ………………………………………………………………………………….… 64 LIST OF IMAGES……………………………………………………………………………… 65 IMAGES………………………………………………………………………………………... 67 Bibliography 90 2 Introduction The German Renaissance wood sculptor and engraver known as Master H.L. left behind only a small body of printed works from his career in the early sixteenth century, numbering some twenty-four engravings and seven woodcuts. Unfortunately, this modest oeuvre has so far received only the most cursory analysis from art historians, perhaps because of its scant size, or because a number of its prints might be dismissed as mere illustrations of traditional religious subjects, primarily scenes from the lives of Jesus and the saints. Four of his prints, however, which are the subject of this thesis, are not so easily relegated, and display his ability to work with previously established visual motifs while manipulating them idiosyncratically for his own purposes. -
A Relief by Benedetto Da Rovezzano in the National Gallery of Art in Washington*
Alison Luchs / A Relief by Benedetto da Rovezzano in Washington 363 Alison Luchs: A RELIEF BY BENEDETTO DA ROVEZZANO IN THE NATIONAL GALLERY OF ART IN WASHINGTON* In commemoration of the yooth anniversary of the artist’s birth The National Gallery of Art’s marble high relief fragment of two putti with a plaque and a fruit festoon (Figs. i, 2) has borne the label “Florentine School, c. 1500’’ since its acquisition with the Widener Col lection in 1942. 1 This designation looks very close to the mark, for the work appears to testify to the peculiar sculptural gifts of one of Michelangelo ’s less celebrated contemporaries, Benedetto da Rovez zano. 2 Benedetto (1474 - c. 1554) has until recently had the misfortune to be most widely represented by the awkward St. John the Evangelist he carved for the apostle series for the Cathedral of Florence in 1512. Nevertheless, far as he was from the mainstream of progressive figure sculpture of his time, he has been recognized as an exceptionally fine decorative sculptor: “II est le dernier echo de la gräce florentine avant les tours de force de l’ecole de Michel-Ange. ”3 Each distinctive feature of the National Gallery’s marble relief appears also in works of Benedetto ’s, most of which are scattered, in fragmentary form, in and around Florence. The type of putto head (Fig. 2) with a high hairline broken by a curling tuft in the middle of a rounded forehead, thick raised locks of hair with incised lines, broad lower lip, wide-set eyes with incised pupils, and eyelids in fine little raised lines, can be seen on the Sernigi tabernacle in the church of S. -
Maid-At-Arms, the 1
Maid-At-Arms, The 1 Maid-At-Arms, The The Project Gutenberg EBook of The Maid-At-Arms, by Robert W. Chambers This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Maid-At-Arms Author: Robert W. Chambers Release Date: May 6, 2004 [EBook #12279] Language: English Character set encoding: ISO-8859-1 Maid-At-Arms, The 2 *** START OF THIS PROJECT GUTENBERG EBOOK THE MAID-AT-ARMS *** Produced by Charles Aldarondo, Charlie Kirschner and the Online Distributed Proofreading Team. THE MAID-AT-ARMS A Novel By Robert W. Chambers Illustrated by Howard Chandler Christy 1902 TO MISS KATHARINE HUSTED PREFACE After a hundred years the history of a great war waged by a successful nation is commonly reviewed by that nation with retrospective complacency. Distance dims the panorama; haze obscures the ragged gaps in the pageant until the long lines of victorious armies move smoothly across the horizon, with never an abyss to check their triumph. Maid-At-Arms, The 3 Yet there is one people who cannot view the past through a mirage. The marks of the birth-pangs remain on the land; its struggle for breath was too terrible, its scars too deep to hide or cover. For us, the pages of the past turn all undimmed; battles, brutally etched, stand clear as our own hills against the sky--for in this land we have no haze to soften truth. -
Architectural Periods and Styles in San Francisco
SAN FRANCISCO PRESERVATION BULLETIN NO. 18 RESIDENTIAL AND COMMERCIAL ARCHITECTURAL PERIODS AND STYLES IN SAN FRANCISCO San Francisco has a unique and varied architectural history, with many architectural styles and building forms represented. While this Preservation Bulletin discusses the foremost architectural periods, styles and building forms found in the City, it is not intended to be a comprehensive listing of architecture in San Francisco. Information is presented in roughly chronological order. Where possible, San Francisco Landmarks are used to represent an example of an architectural style. Information on the City’s major architectural periods -- both commercial and residential -- precedes architectural styles. San Francisco’s Principal Residential Architectural Periods Period -- Victorian (1860-1900). During this period, San Francisco’s architectural styles evolved from Mission-inspired and vernacular designs to styles of classicism and ornamentation. During the last decades of Britain’s Queen Victoria’s reign, a number of architectural styles were popularized in the United States. Loosely based on medieval prototypes, these styles are exemplified through multi-textured or multi-colored walls, asymmetrical facades and steeply pitched roofs. During this period, advances in technology resulted in the mass-production of housing materials such as doors, windows and siding, and the construction of complex shapes and elaborate detailing. Period -- Late Nineteenth and Early Twentieth Century Revivals (1890-1940). Commencing at the turn of the century and picking up steam in the 1920s, Period Revival architecture occurred amidst several great building booms. The longing for a foreign atmosphere, always a part of San Francisco culture, is exemplified during this period in which both traditional and exotic tastes found acceptance. -
The Origin and Iconography of the Late Minoan Painted Larnax
THE ORIGIN AND ICONOGRAPHY OF THE LATE MINOAN PAINTED LARNAX (PLATES 81-93) To Machteld Mellink BJj~EGINNINGin the 14th century B.C., the clay chest-shapedcoffin, known as a larnax, IL) became the standard burial vessel used on the island of Crete.1 These rectangular chests set on legs had gabled lids, and some examples had raised bordersaround their mar- gins, an arrangementprobably derived from wooden models. A number of the larnakes were painted with a variety of naturalistic motifs and scenes, which make these chests the richest sourceof pictorialart in Late Minoan III Crete.2This article discussesthe origin of the Late Minoan larnax, assembles the full variety of published larnax motifs and scenes, and interpretstheir iconography.In order to understandmany of the motifs, their earlier use on Aegean frescoesand vase painting and in Egyptian tomb painting is considered. In the Late Minoan I period, Minoan civilization reached the full extent of its influ- ence. The Minoans traded directly with much of the Aegean, Cyprus, the Levant, and Egypt. In Late Minoan IB most of the towns and palaces on Crete, Knossosexcepted, were I This paper was first presentedin the Aegean Bronze Age Symposiumat the Institute of Fine Arts (New York University) in October 1983. Ellen Davis, Charlotte Long, and Gisela Walberg read subsequentdrafts of the paper and made a number of helpful suggestions.I am indebtedto James Weinstein and William Peck for answering my questions about Egypt and the Near East. Nikolas Platon and Katerina Baxevannis cour- teously granted me permissionto publish photographsof larnakes from Episkopi, Giofyrakia,and Armenoi. -
Historic District Landmarks Commission Glossary
CITY OF NEW ORLEANS Historic District Landmarks Commission Glossary Abat‐Vent ‐ A roof extension, almost flat, supported by Arch ‐ A curvilinear structural opening. metal or wood outrigger cantilevered from the façade at the roof line. Architectural Review Committee – A group of volunteer architects that review proposals for work within local Acanthus ‐ A prickly herb of the Mediterranean region; historic districts and make recommendations to the leaves of the acanthus were used for designs in Historic District Landmark Commission. classical ornamentation. Architrave ‐ The lowest part of an entablature. Accessory Structure ‐ A structure located on the same lot as, and of a nature and use clearly incidental and Art House ‐ Art House is not a recognized architectural subordinate to, the principal structure. term. Architectural embellishment of buildings under the jurisdiction of the HDLC must be reviewed on a Accessory Use ‐ A use that is incidental and subordinate to case by case basis, in order to determine if the the principal use of the land or structure that is proposed embellishment is appropriate to the located on the same lot as the principal use or building in question. structure. Asphalt Shingle – A composition shingle having an asphalt Adaptive Reuse – The renovation of a structure for a impregnated felt base, surfaced on the weather side different purpose than it is currently used or originally with colored mineral granules embedded in hot designed. asphaltic coating. Addition or Enlargement ‐ Any construction that increases Attention Getting Device ‐ Any pennant, flag, festoon, the size of a structure in terms of site coverage, valance, propeller, pole covers, spinner, streamer, height, building depth or width or floor area. -
A Quest for Beauty and Meaning
The Flourishing of Truth and Beauty Dutch seventeenth-century still-life painting in its socio-historical context - RMA thesis- Full name: Eva Tjitske Jansen Student number: 3354385 Date and place of birth: 21-04-1990, Arnhem Institution: Utrecht University; Faculty of Humanities Research master ‘Art History of the Low Countries in its European context’ Deadline: August 2013 Supervisor: Prof. dr. Peter Hecht Second reader: Drs. Hilbert Lootsma Department of History and Art History 1 CONTENTS Introduction p. 3 I Still-life painting around 1620 1.1. The main types of still life 1.1.1 Flower and fruit pieces…………………………………………………… p. 6 1.1.2 Breakfast- and banquet pieces……………………………………….. p. 8 1.1.3 Vanitas pieces…………………………………………………………………. P. 9 1.2. Socio-historical context 1.2.1 Historical introduction: politics and economics……………….. p. 11 1.2.2 The contemporary conception of art………………………………. p. 12 1.2.3 The contemporary art market………………………………………… p. 14 1.2.4 Interior fashions…………………………………………………………….. p. 16 1.3. Conclusion…………………………………………………………………………………… p. 17 II Still-life painting around 1650 2.1. The main types of still life 2.1.1 Flower and fruit pieces…………………………………………………… p. 19 2.1.2 Pronkstillevens……………………………………………………………….. p. 21 2.1.3 Vanitas pieces…………………………………………………………………. p. 24 2.1.4 Game pieces…………………………………………………………………… p. 25 2.1.5 Trompe l’oeil pieces……………………………………………………….. p. 26 2.1.6. Fish pieces……………………………………………………………………… p. 28 2.2. Socio-historical context 2.2.1 Historical introduction: politics and economics……………… p. 29 2.2.2 The contemporary conception of art…………………………….. p. 31 2.2.3 The contemporary art market………………………………………… p. 33 2.2.4 Interior fashions……………………………………………………………… p. -
Description of the New York City Federal Procession, New York Daily Advertiser, 2 August 1788
Description of the New York City Federal Procession, New York Daily Advertiser, 2 August 1788 Federal Procession, In honor of the Constitution of the United States. To testify the animated joy of the Citizens of New-York upon finding the Federal Constitution of Government ratified by a sufficient number of States to make it operative, it was determined that on the 23d ult. they should so appear in procession as to demonstrate to the world, the pleasure, that in consequence of this event, had pervaded all ranks and degrees of the community. The day having been more than once postponed, in the interesting hope, that this State, then in Convention, would likewise accede to the union, the Committee of Arrangements found it impossible any longer to oppose the patriotic ardor of their fellow citizens. It was remembered owever that the great object of exultation was not the ratifying of the Constitution by any one particular State; but the already present existence of an æra in the history of man, great, glorious, and unparalleled—which opens a variety of new sources of happiness, and unbounded prospects of national prosperity!—The adoption of the Federal Plan by this State, tho’ not then expected to be immediate, was however with certainty considered among those events, which time, encreasing light, and an over ruling Providence would bring to our view. About ten o’clock 13 guns were fired from the Federal Ship Hamilton, being the signal for the Procession to move, the different bodies of which it was composed having already collected from their various places of meeting.