Product Catalog 2014
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Lighting and Byzantine Glass Tesserae
EVA London Conference ~ 11–13 July 2007 Eva Zányi, Carla Schroer, Mark Mudge, and Alan Chalmers _____________________________________________________________________ LIGHTING AND BYZANTINE GLASS TESSERAE Eva Zányi†, Carla Schroer‡, Mark Mudge‡, Alan Chalmers† † Warwick Digital Laboratory University of Warwick Coventry CV4 7AL United Kingdom [email protected], [email protected] http://www.warwickdigital.org ‡ Cultural Heritage Imaging San Francisco USA [email protected], [email protected] http://www.c-h-i.org Abstract – A key component of many Byzantine churches was the mosaics on the curved walls and ceilings, which included gold and silver glass tesserae. As the viewer or the light moved within the church, these tesserae sparkled. In this paper we describe how we captured a Polynomial Texture Map of the apse mosaic at the Angeloktisti Church at Kiti, Cyprus and used it to investigate how the position of the lighting may have affected the appearance of the mosaic. Our study showed that the appearance of the mosaics is indeed significantly different when lit from various directions. INTRODUCTION From the outside Byzantine churches look unimposing; without much decoration, no paint or precious materials. This is very different to the interior, which provided those inside the space with dramatic visual affects aiming at alleviating and engaging the viewer to approach God [14]. The architecture used light and shadow to symbolically represent different sacral hierarchies and direct the attention of the viewer. Therefore the upper parts of the churches, which represented heaven, were better lit than the lower parts. In early Byzantium this was achieved with the help of daylight through small xxxx Figure 1. -
The Heritage Within
Aleksandar Pantić CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN MA Thesis in Cultural Heritage Studies: Academic Research, Policy, Management. Central European University Budapest May 2018. CEU eTD Collection CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest May 2018. CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2018. CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, -
Philippa H Deeley Ltd Catalogue 21 May 2016
Philippa H Deeley Ltd Catalogue 21 May 2016 1 A Victorian Staffordshire pottery flatback figural 16 A Staffordshire pottery flatback group of a seated group of Queen Victoria and King Victor lion with a Greek warrior on his back and a boy Emmanuel II of Sardinia, c1860, titled 'Queen and beside him with a bow, 39cm high £30.00 - £50.00 King of Sardinia', to the base, 34.5cm high £50.00 - 17 A Victorian Staffordshire pottery flatback figure of £60.00 the Prince of Wales with a dog, titled to the base, 2 A Victorian Staffordshire pottery figure of Will 37cm high £30.00 - £40.00 Watch, the notorious smuggler and privateer, 18 A Victorian Staffordshire flatback group of a girl on holding a pistol in each hand, titled to the base, a pony, 22cm high and another Staffordshire 32.5cm high £40.00 - £60.00 flatback group of a lady riding in a carriage behind 3 A Victorian Staffordshire pottery flatback figural a rearing horse, 22.5cm high £40.00 - £60.00 group of King John signing the Magna Carta in a 19 A Stafforshire pottery flatback pocket watch stand tent flanked by two children, 30.5cm high £50.00 - in the form of three Scottish ladies dancing, 27cm £70.00 high and two smaller groups of two Scottish girls 4 A Victorian Staffordshire pottery figure of Queen dancing, 14.5cm high and a drummer boy, his Victoria seated upon her throne, 19cm high, and a sweetheart and a rabbit, 16cm high £30.00 - smaller figure of Prince Albert in a similar pose, £40.00 13.5cm high £50.00 - £70.00 20 Three Staffordshire pottery flatback pastille 5 A pair of Staffordshire -
2 Day On-Line Auction Antiques & Fine
2 DAY ON-LINE AUCTION ANTIQUES & FINE ART THURS 15TH & FRI 16th OCTOBER @ 10am Catalogue £2 C A T A L O G U E of the 2 day sale of ANTIQUES, COLLECTABLES & FINE ART on behalf of Executors and Private Vendors at Truro Sale Room, Newquay Road, Truro, Cornwall TR1 1RH on Thursday 15th & Friday 16th October 2020 at 10am CONDITIONS OF SALE 1. Commission at the rate of 15% plus VAT will be charged to purchasers on each item. 2. None of the Lots are subject to VAT. 3. Payment Terms - Payment by cash or debit card only. Credit cards not accepted. 4. All goods to be paid for on the sale day and no goods may be removed until a receipted account has been obtained from the sale office. 5. All lots are the responsibility of the purchaser from the fall of the hammer. 6. This catalogue is prepared for the benefit only of purchasers and no guarantee is given or implied in respect of any lot. Purchasers are deemed to have satisfied themselves as to the quantity, quality and description of each lot before bidding. 7. All electrical goods have been tested for their electrical safety. This test in no way implies any guarantee or warranty in respect of the working order of these items but merely is a test in respect of their electrical safety. 8. All items are to be removed on the day of sale unless other arrangements are made with the Auctioneers. 9. Other conditions of sale as displayed and announced at the time of sale. -
Caf Ar 419 Glassblowing
Calle Renier, Dorsoduro 3655 – 30125 Venezia tel. 041.296 0599 CAF AR 419 GLASSBLOWING INSTRUCTOR: Davide Penso [email protected] CLASS: every Tuesday from 3.00 pm to 7.00 pm (56 hours) SITE: Murano Isle COURSE DESCRIPTION The CFA AR 419 Glassblowing is a course that takes place on the Murano Isle, and it is an introduction to the real professional way to approach the torch and how to melt glass. During this course students learn about tools used for creating glass beads. Each student learns how to create his/her own bead and right out of his/her first jewelry, through the assistance and monitoring of the instructor. Each student is assigned a workstation equipped with its own workspace and torch. Each workspace has all the tools she/he needs, including: steel spindles or needles, safety glasses, pan pot of graphite, flat pliers to shape the glass, vermiculite to cool beads, etc. In addition, many glass rods of many different colors. The number of students per class is limited to 8. This allows the instructor a personalized evaluation, constant feedback and instructions. During the course, students will learn about tools for beads design and creation, most of glass fusion techniques, from the project to the professional production of the beads, designing jewelry, and strategy of sales. On the 3rd of December, students will visit the Glass Museum in Murano. In addition, the optional visit to the furnace where students can see Giancarlo Signoretto’s glass sculptures, on the 3rd or on the 10th of December. REQUIREMENTS For this course no requirements are asked. -
Authentication
AUTHENTICATION 1. LOGO Authentication starts with a logo. No logo, no Montici. True, Blow issued a limited number of mosaic pieces with no logo between the start of his mosaic career circa 1947 and the creation of the first Montici logo in 1951. But the odds are against finding such early pieces on the market. Pyramids and Dots On May 25, 1951, Blow registered with the U.S. Patent and Trademark office his famous, classic black- and-white “two-triangle” logo, Blow had impeccable style and taste, right down to his choice of material for his tiny, signature logo. These original logos were made out of legendary Murano glass from Venice, called murino in Italian. Per Lastrucci, the glass came out of the fire in the form of aa tube; the tube was then sliced into individual logos. According to scholars, Venetians have been making glass for over 1,500 years, and on the Venetian island of Murano since the 13th century. In addition to the original 1951 Logo, Blow also created and used a second logo, a stylized letter “M” with a white dot on top. This dot logo was registered in Italy on Feb. 23, 1956. Why he created a second logo is an interesting story, shared with our sister Rosemary by maestro Bruno Lastrucci. At some point in the 1950s, the workshop ran out of logos, due to the exploding demand for Blow’s art pieces. While impatiently waiting for the reorder from Venice, Blow created the second logo to fill the gap. The simple dot ended up as a “cap” when translated into material. -
TILE HERITAGE FOUNDATION U.S. Catalog Collection Catalog Order Form
TILE HERITAGE FOUNDATION U.S. Catalog Collection Catalog Order Form To order one or more, first check the desired catalogs on the list below. Note the price of the catalog(s), then THF members may deduct 10% from the total (use code THF2014 online). Note that you may join Tile Heritage with a $45 tax-deductible donation. Add your local sales tax if or- dered from California and then add the appropriate shipping charge. Order online, fax your order with your credit card info, or make your check payable to Tile Heritage Foundation and mail with your list to Tile Heritage, P. O. Box 1850, Healdsburg, CA 95448. American Express, Discover, Visa and Mastercard are accepted. Simply supply us with the card number, expiration date and the name on the card. Do not email your credit card number. Order Form: U.S. Tile Catalog Reproductions Qty Catalog Price Total ____ Alhambra Tile Co: “Faience Arch Mantels.” $25 b&w ____ ____ Alhambra Tile Co: “Artistic Designs of Mantels.” $40 w/color ____ ____ American Encaustic: “Artistic Tiles” $40 w/color ____ ____ American Encaustic: “Ceramic Mosaic” (Cat. A) $75 color ____ ____ American Encaustic: “Lombardic Mosaic” $60 color ____ ____ American Encaustic: “Tile Design” $20 w/color ____ ____ American Encaustic: Aetcotype Accessories $75 color ____ ____ ATM: Arch. Monograph, No. 1. $15 w/color ____ ____ ATM: Arch. Monograph, No. 2. $15 w/color ____ ____ ATM: Arch. Monograph, No. 3. $15 w/color ____ ____ ATM: Arch. Monograph, No. 4. $15 w/color ____ ____ ATM: Arch. Monograph, No. -
Fietra Dura, Also' Called Florentine Mosaic, Consists In
MOSAIC AND PIETRA DURA. 429 qui site shading of the colors, the brilliant though softened effeot of the group of views, the atmosphere a~d sky of each mingling into the same ethereal tint, which relieved the eye and allowed it to rest with pleasure on the separate views: it was certainly a masterpiece. The author never left the Crystal Palace without passing by the table, which always excited fresh admiration. There. were two other mosaics, much laTger than the former, and different in style, that were remarkably fine specimens of workmam;hip: one was a copy of a celebrated picture, . by Guercino,-a St. John the Baptist; and the other a portrait of Pope Boniface the Second. A circular table, a square slab, and a picture represent ing a view of P:;estum, were likewise 'among the Roman mosaics in the London Exhibition. Dr. Chilton, of New York, has a beautiful Roman mosaic of the Pantheon, about three inches long. In the New York Exhibition, in 1853, the large pic ture of Pope Pia IX., in medallion size, was much ad mired. In the Paris Exhibition, in 1855, many large wOTksof Roman mosaics were exhibited; one in particular, belong ing to the Duke of Tuscany, required the constant work of fourteen years, and cost 700,000 francs. A large table in the rotU11da of the panorama, of rich and elegant Roman mosaic, cost 400.,000 ii'anes. The famous picture of the' Campo-vacino, in Rome, by Galand, cost the artist ten years' labor. Fietra dura, also' called Florentine mosaic, consists in the manufacture of hard stone inlaid in a slab of marble; they are, for the most part, of the quartz species, such as agates, jasper, chalcedony, carnelian, &c.; also, lapis lazuli, malachite, and aHsuch hard and colored minerals which, by their depth of color and brilliancy of lustre largely con· . -
CERAMIC ART and EXPRESSION: EXPERIMENTING with MOSAIC ART by Paul Owusu Attakorah BA (Integrated Rural Art and Industry) a Thesi
CERAMIC ART AND EXPRESSION: EXPERIMENTING WITH MOSAIC ART By Paul Owusu Attakorah BA (Integrated Rural Art and Industry) A Thesis submitted to the Department of Industrial Art, Kwame Nkrumah University of Science and Technology in partial fulfillment of the requirements for the degree of MASTER OF FINE ART (CERAMICS) College of Art and Built Environment © Department of Industrial Art June, 2015 i CERTIFICATION I hereby declare that this submission is my own work towards the MFA and that, to the best of my knowledge; it contains neither material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. PAUL OWUSU ATTAKORAH ………………… …………… (PG 7278212) (STUDENT) SIGNATURE DATE Certified by: MR.ALBERT ASSUMAN ………………… …………. (SUPERVISOR) SIGNATURE DATE Certified by: DR. EBENEZER KOFI HOWARD ……………… ………… (HEAD OF DEPARTMENT) SIGNATURE DATE ii ABSTRACT Mosaic art has been practiced all over the world and generally in two dimensional forms. The main objective of this project is to depict Clay beads mosaic in a three dimensional form for better appreciation and artistic grandeur in clay medium. Inspired by the wisdom of the Egret bird, a design was developed to produce a thought- provoking piece titled “Wisdom Bead Mosaic”. This work was achieved through design thinking, systematic procedure and a tandem of artistic skills and studio practice. The materials used were clay, iron rods and binding wire. The nine (9) feet work provided stimuli among both artist and non-artist. It became evidently clear that mosaic art can be expressively executed in three dimensional and be a resource for beautifying the environment. -
Application for Mosaic Leadership Scholarship a Mosaic Is Anything Made up of Various and Unique Elements That Together Forms a Single Composite Whole
Application for Mosaic Leadership Scholarship A mosaic is anything made up of various and unique elements that together forms a single composite whole. A mosaic consists of different textures, colors, shapes, and sizes–each one beautiful, valuable, and representing something that is an irreplaceable and essential part of the whole. Through the Mosaic Leadership Scholarship, North Park Theological Seminary (NPTS) supports the vision of the Evangelical Covenant Church (ECC) which values becoming a church that is anchored in the multi- cultural, multi-ethnic diversity of the kingdom of God. Mosaic Leadership Scholarships are designed to support leaders, with multi-cultural or multi-ethnic backgrounds, who desire to become further equipped through theological education, in order to strengthen the mosaic tapestry of the Church. Mosaic Leadership Scholarships recognize men and women who have demonstrated, through previous leadership (in ministry, community, career, civic, or pastoral contexts) the potential for significantly expanded and more effective work and ministry in the church and/or society. Mosaic Leadership Scholarships are offered to degree-seeking students as part of a financial aid award package. Financial aid awards assume a personal financial investment and the opportunity for the student to benefit from the Church Matching Grant program. Evangelical Covenant students applying for the Mosaic Leadership Scholarship may also be eligible to apply for a Presidential Scholarship. Mosaic Leadership Scholarships are offered to a limited -
News from ACGA
June 2017 Volume 65, Issue 6 In This Issue President's Message - Bill Geisinger CUSTOMER MAILING LISTS June 2017 ACGA Corporate Sponsor ACGA has Palo Alto Clay and Glass killed its last Festival tree. New Sales Process. This newsletter is our last Member News printed newsletter. Minutes CGAF Members will Stack of plates by Geisinger now receive our EXHIBITIONS monthly news online. You can read it on your phone, pad, computer, or print and read on paper. It will be your choice how you want to learn OPPORTUNITIES about ACGA activities and our member news! You will receive an email with the newsletter from our editor, Bonita Cohn (thought a FORUM shout out here is good) or go to http://www.acga.net/ and you will find a link to a PDF SUBMISSIONS version that you can print. You can do it! CALENDAR ask not what your organization can do for you, ... ask what you can do for your organization June 14: Next Board Meeting: Wed, 7:00-8:45 PM at the SF ACGA is in need of your help. We need to identify people who can Presidio Public Library, 3150 donate one hour a month to share the work that makes ACGA Sacramento St., San Francisco. important to its members and our community. We have several areas that need help each month. (planning, membership, website, June 10 - reception for Glass directory, exhibitions, finance) No experience is necessary. Currents. Rchmond Art Ctr We are also looking to fill two spaces in our board of directors. These June 13 - August 19: Glass positions would require working together once a month on the Second Currents open to public. -
News from ACGA
MAY 2017 Volume 65, Issue 5 In This Issue President's Message - bill geisinger CUSTOMER MAILING LISTS Our 25th Clay and Glass ACGA Corporate Sponsor festival preparations are in full swing. The festival Joerling Workshop committee is working with Giant Creative and Kathy Palo Alto Clay and Glass Bentaieb to make it our Festival best yet. Please plan to attend ACGA's festival Silver Anniversary Party party Saturday, July 8 beginning at the close of Stack by bill 2016 Clay Carnval the day. Member News At the last board meeting there were two decisions made that affect CGAF ACGA members. You can look forward to seeing some change in the website and our newsletter. Minutes The website has already been changed it's easier to FIND MEMBERS. CALIFORNIA CLAY There is a complete list of ALL ACGA's MEMBERS including contact COMPETITION information. Plus the ACTIVE MEMBERS profiles have been consolidated to include members who have submitted images and EXHIBITIONS specifically when the large background image is loaded. If you need assistance please give Whitney or me a call or send us an email. CERF+ Have a look at the website members pages and see how they have OPPORTUNITIES changed at this URL: http://www.acga.net/members/ Website. Our monthly newsletter is changing to an all-digital format on July 1, FORUM 2017. Members will be able to get the news online and be able to read on your phone, pad, computer, or print and read on paper. It will be your ACGA Networking choice how you want to catch up with ACGA activities and our member news! SUBMISSIONS Details will be coming soon.