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Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
Wspó£Czesne Metody Opracowania Baz Danych
Pawlicki, B. M., Czechowicz, J., Drabowski, M. (2001). Modern methods of data processing of old historical structure for the needs of the Polish Information System About Monuments following the example of Cracow in Cultural Heritage Protection. In: D. Kereković, E. Nowak (ed.). GIS Polonia 2001. Hrvatski Informatički Zbor – GIS Forum, Croatia, 367-378. MODERN METHODS OF DATA PROCESSING OF OLD HISTORICAL STRUCTURE FOR THE NEEEDS OF THE POLISH INFORMATION SYSTEM ABOUT MONUMENTS FOLLOWING THE EXAMPLE OF CRACOW IN CULTURAL HERITAGE PROTECTION Bonawentura Maciej PAWLICKI Jacek CZECHOWICZ Mieczysław DRABOWSKI Politechnika Krakowska Cracow University Of Technology Cracow University of Technology, Institute of History of Architecture and Monuments Preservation, Center of Education and Research in the Range of Application of Informatic Systems, Cracow ABSTRACT Presented works were made from 1999 to 2001 years in the Division of Conservatory Studies and Researches, of the Institute of History of Architecture and Monument Preservation - Faculty of Architecture of the Cracow University of Technology. The software, methods and models of the data base systems were laboratory experimented in the Computer Information Systems Center of the Cracow University of Technology. The works (laboratories, terain exercises and student practises) which have been doing so far, concerned of geodesy-cataloguing registration and using computer technology give an optimal possibilities of monitoring of the historical environment for preservation of the cultural heritage. The data used in computer modelling make applying of multiply materials as a basis of data warehouse, among other: geodesy foundations, their newest actualisation, digital camera photography’s and space visualisations. In works students used following graphical programs: GIS, 3D Studio Max, AutoCAD – Architectural Desktop, ArchiCAD 6.5, Adobe Photo Shop, Land Development, Corel Draw, Picture Publisher. -
Planters - Traditional WHY HADDONSTONE?
Planters - Traditional WHY HADDONSTONE? Haddonstone is a unique form of cast limestone with a surface texture similar to Portland stone. The material matures and weathers like natural stone yet, piece for piece, normally costs significantly less than quarried stone. The ability to mould the Haddonstone material into almost any shape ~ faithfully reproducing new designs or producing replicas that are virtually indistinguishable from an antique original ~ has won the company numerous contracts ranging from leading international hotels and retail developments to listed National Trust properties and prestige residential projects. The material used in every design, from the smallest planter to the largest Corinthian column, exceeds the compressive cube VISIT US strength requirements of the United Kingdom Cast Stone Association and complies with all relevant UK and European At East Haddon, in the rolling countryside of Northamptonshire standards, whilst TecStone also meets the requirements of in England, Haddonstone has beautiful show gardens and an all US standards. interior showroom where visitors can see many of the designs illustrated in this catalogue in their proper settings, see opposite. Each design is hand made by Haddonstone in the UK or USA The garden and showroom are open every week from Monday using moulds created within the company’s extensive mould to Friday ~ public holidays and Christmas period excepted shops and studios. Using these same facilities Haddonstone can ~ between the hours of 9.00 am and 5.00 pm. The gardens even manufacture non-standard architectural stone pieces to are also open on occasional weekends as part of the National practically any shape, size or colour. -
Development of Form Making of Door Knockers in Italy in the Xv-Xvii Centuries
Man In India, 96 (12) : 5677-5697 © Serials Publications DEVELOPMENT OF FORM MAKING OF DOOR KNOCKERS IN ITALY IN THE XV-XVII CENTURIES Tatiana Evgenievna Trofimova* Abstract: Decorative art items - door knockers - combine practical and esthetic features. At the same time they are a part of everyday and art culture, and can tell much about the ideology, lifestyle of the society, and the level of the artistic crafts development at the time when they were created. The goal of this research is to study the role and purpose of door knockers in the Italian culture of the XV-XVII centuries, to research door knockers that continue decorating doors of various Italian cities and towns, to study in details Italian door knockers of the golden age of the bronze-casting art through the samples from the Hermitage in Saint-Petersburg. For this research it was necessary to solve the following tasks: to put the generalized illustrative material in the historical succession, to consider form making of door knockers in accordance with the architectural styles, and symbolic meaning, to define characteristic features of the artistic expression, to reveal regularities in form making and decorating of door knockers, as well as to study and describe samples from the Hermitage in Saint-Petersburg as the best examples of Italian door knockers of the XV-XVII centuries. The following methods were used during the research: - References and analytical: reproduction of the general picture of the development of various forms of door knockers, searching for and systematization -
Lot Description LOW Estimate HIGH Estimate 2000 German Rococo Style Silvered Wall Mirror, of Oval Form with a Wide Repoussé F
LOW HIGH Lot Description Estimate Estimate German Rococo style silvered wall mirror, of oval form with a wide repoussé frame having 2000 'C' scroll cartouches, with floral accents and putti, 27"h x 20.5"w $ 300 - 500 Polychrome Murano style art glass vase, of tear drop form with a stick neck, bulbous body, and resting on a circular foot, executed in cobalt, red, orange, white, and yellow 2001 wtih pulled lines on the neck and large mille fleur designs on the body, the whole cased in clear glass, 16"h x 6.75"w $ 200 - 400 Bird's nest bubble bowl by Cristy Aloysi and Scott Graham, executed in aubergine glass 2002 with slate blue veining, of circular form, blown with a double wall and resting on a circular foot, signed Aloysi & Graham, 6"h x 12"dia $ 300 - 500 Monumental Murano centerpiece vase by Seguso Viro, executed in gold flecked clear 2003 glass, having an inverted bell form with a flared rim and twisting ribbed body, resting on a ribbed knop rising on a circular foot, signed Seguso Viro, 20"h x 11"w $ 600 - 900 2004 No Lot (lot of 2) Art glass group, consisting of a low bowl, having an orange rim surmounting the 2005 blue to green swirl decorated body 3"h x 11"w, together with a French art glass bowl, having a pulled design, 2.5"h x 6"w $ 300 - 500 Archimede Seguso (Italian, 1909-1999) art glass sculpture, depicting the head of a lady, 2006 gazing at a stylized geometric arch in blue, and rising on an oval glass base, edition 7 of 7, signed and numbered to underside, 7"h x 19"w $ 1,500 - 2,500 Rene Lalique "Tortues" amber glass vase, introduced 1926, having a globular form with a 2007 flared mouth, the surface covered with tortoises, underside with molded "R. -
Catalogue 901 To
Lots 901 - 910 Lot #901: SET OF FOUR LOUIS XVI-STYLE CARVED, PAINTED AND PARCEL-GILT MUSICAL TROPHIES Each bow-tied pendant rope back supporting a horn and a violin with bow, centering a floral cartouche with wing, painted blue-grey. Estimate: $ 2000.00 - $ 3000.00 Lot #902: PAIR OF DECORATIVE ROCK CRYSTAL OBELISKS Each on block-form pedestal and stepped base; 32 x 6 3/8 in. Estimate: $ 2000.00 - $ 3000.00 Lot #903: TWO BRASS-INLAID BOULLEWORK BOXES The larger with chamfered corners, a hinged fall-front and mother-of-pearl and red-ground tortoiseshell medallions, the other with red-ground lattice lid; 3 x 10 1/4 in. and 1 3/4 x 3 in. Estimate: $ 250.00 - $ 450.00 Lot #904: PAIR OF CHARLES X-STYLE GILT-METAL URNS Each bowl with everted egg-and-dart rim and reeded handles rising from mask heads, the block stand relief-cast with alternating music and painting trophies; 13 in., 6 1/2 in. diam. Estimate: $ 800.00 - $ 1200.00 Lot #905: SET OF FOUR RÉGENCE-STYLE PORCELAIN-MOUNTED GILT-METAL TWO-LIGHT WALL APPLIQUÉS Each with trellis arbor enclosing a figure of a youth or girl and supporting the spiral twist arms fitted with flowerheads; 14 x 10 1/2 x 6 3/4 in. Estimate: $ 800.00 - $ 1200.00 Lot #906: LOUIS VUITTON BRASS-MOUNTED LEATHER SUITCASE Lock No. 084186, Case No. 811787, with brass nailheaded metal edge, lacking tray; 17 1/2 x 28 x 8 1/2 in. Estimate: $ 600.00 - $ 800.00 Lot #907: PAIR OF ITALIAN SILVER, GILT-METAL AND STEEL-MOUNTED SINGLE-BARREL PISTOLS Signed Frachetti Minelli; each with flower and foliate-engraved mounts and a blind cartouche at handle, in later fitted silver-edged burrwood case with dome lid, dated 1978. -
Catalogue of English Silversmiths' Work (With Scottish and Irish)
Purchased by the Mary Stuart Book Fund Founded A.D. 1893 Cooper Union Library i. The Studley Bowl. Late 14th century Given by Harvey Hadden, Esq. Frontispiece.] VICTORIA AND ALBERT MUSEUM DEPARTMENT OF METALWORK CATALOGUE OF ENGLISH SILVERSMITHS' WORK (WITH SCOTTISH AND IRISH) CIVIL AND DOMESTIC INTRODUCTION BY W. W. WATTS, F.S.A. LONDON: PRINTED UNDER THE AUTHORITY OF HIS MAJESTY'S STATIONERY OFFICE 1920 PRINTED & PUBLISHES IN GREAT BRITAIN. UK Cwn\ Publication No. 132 M. First printed, July 1920. Crown Copyright Reserved. This Catalogue may be obtained either direct from the Museum or through any bookseller, ' r * . s (51)7801 Wt 4721 1-86 1/1985 15008/20 E&S PREFATORY NOTE THE Collection of English Silver in the Museum aims at representing the history and development of the silver- smith's art in this country. It is, unfortunately, by no means adequate for this purpose ; many of the well-known forms referred to in the Introduction are not as yet represented. Mediaeval pieces are almost unobtainable ; but it is possible to find the productions of the sixteenth, seventeenth, and eighteenth centuries. The collection waits for the munificence of donors who will enrich- it with such objects as a font-shaped cup and a ewer and dish of the sixteenth century ; a steeple-cup and punch- bowl of the seventeenth century; and fine pierced work of the eighteenth century. It needs fuller representation, too, of the rich work of Paul Lamerie and his contemporaries : the plain silver of the beginning of the eighteenth century is now repre- sented by Mr. -
Fine Garden Ornaments and Architectural Stonework
Fine garden ornaments and architectural stonework Haddonstone Ltd, The Forge House, East Haddon, Northampton NN6 8DB, England. Telephone: 01604 770711 Fax: 01604 770027 [email protected] Haddonstone (USA) Ltd, Telephone: 856 931 7011 Fax: 856 931 0040 [email protected] Haddonstone (USA) Ltd, 32207 United Avenue, Pueblo, CO 81001, USA. Telephone: 719 948 4554 Fax: 719 948 4285 [email protected] www.haddonstone.com Fine garden ornaments and architectural stonework ISBN: 978-0-9563891-2-1 Issue date: January 2015 ISBN: 978-0-9563891-2-1 Back cover images: Copyright © 2014 Haddonstone Ltd. All rights Designs recently reserved. Except as allowed by law, no part replicated in partnership of this publication may be reproduced in with the Sir John Soane’s any form without the written permission of Museum, see pages 8-10. Haddonstone Ltd. Please note also that much of Haddonstone’s garden ornamentation, architectural stonework and related Tech Sheets and computer programs are subject to registered design, copyright and similar proprietary protections under the laws of various jurisdictions. No pieces contained in this catalogue, or supplied by Haddonstone, should be copied or modified without first consulting the company in writing for permission. Violators of such proprietary rights are subject to severe civil and criminal penalties under law. The terms “HADDONSTONE”, “TECSTONE”, “HADDON-TECSTONE”, “TECCAST”, “TECLITE”, “STONEAGE”, “TECHNISTONE”, Editor: Simon Scott “HADDONCRAFT”, “ARCADIAN” and “PENNINE STONE” and the stylised forms of Artwork: Miranda Eldridge these terms are, and in certain instances are Principal photographers: registered as, trademarks and service marks Hugh Palmer & Robin Teall of Haddonstone Ltd. INTRODUCTION Welcome to the Haddonstone catalogue, containing the world’s most comprehensive collection of fine ornamental and architectural cast stone. -
Scavenger Hunt Glossary
GLOSSARY DOWNTOWN NORFOLK VIRTUAL SCAVENGER HUNT A Hampton Roads Chapter of the American Institute of Architecture HISTORIC PRESERVATION MONTH EVENT May 15-31, 2020 Architecture has a language unto itself. Every piece of a building, every type of ornamentation, every style has a distinct name and so does each detail you will encounter in our Scavenger Hunt. Below are definitions of typical architectural features you will see in the photos embedded in the Virtual Scavenger Hunt Interactive Map and the Official Virtual Scavenger Hunt Entry Form. Choose from these definitions for the description that is the best match to the details to be found. Enter this on the Entry Form (see example on the bottom right of the Official Entry Form). HINT: Not all are used; some are used more than once. Acroterion – A classical ornament or crowning adorning a pediment Fleuron – Ornament at the center of the Ionic abacus. Classically usually at gable corners and crown, generally carvings of monsters, it is a floral ornament, but in modern interpretations, can be sphinxes, griffins or gorgons, sometimes massive floral complexes. anthropomorphic (e.g. human forms). Art Deco Ornament – Popular decorative arts in the 1920s–30s Fretwork – Ornament comprised of incised or raised bans, variously after WWI. Identified by geometric, stylized, designs and surface combined and typically using continuous lines arranged in a ornamentation in forms such as zigzags, chevrons and stylized floral rectilinear or repeated geometric pattern. Also called a Meander. motifs. Geison – The projection at the bottom of the tympanum formed by Bas Relief Ornamentation – Carved, sculpted or cast ornament the top of the Cornice. -
Artistic Furnishings and Interior Decorations of The
A RT I ST I C F U R N I S H I N GS A N D I N T E R I O R DE C O R AT I O N S OF T H E R E S I DE N C E H E N R W P R E Y . O O , SQ . T O B E S O L D A T U N R E ST R I C T E D P U B L I C S A L E B M A E . K I R B Y Y M R . T H O S O F T H E A M E R I C A N A R T A S S OC I A T I O N , M A N A G E R S ON P U BL I C VI EW M D A Y A N D T DA Y A PR I L 19T H A N D 20T H ON U E S , M . N T I L P . M . F R OM 10 A . U 5 D SS ON T O T H E EXH B ON AN D S LE EX LUS VELY (A MI I I ITI A , C I BY D T O BE H AD N CAR , O WRITTEN APPLICATION T O T H E MAN AG ERS) T H E A R T I ST I C P R O P E R T Y CON TAIN ED I N T H E RESIDEN CE OF E . -
Cortina Stonetm Mantelpiece Collection Wholecataloguepg1-21 4/27/07 3:21 PM Page 2
WholeCataloguePG1-21 4/27/07 3:21 PM Page 1 Cortina StoneTM Mantelpiece Collection WholeCataloguePG1-21 4/27/07 3:21 PM Page 2 historical european- inspired mantelpieces impeccably sculpted to gratify the world’s most discerning architectural palates WholeCataloguePG1-21 4/27/07 3:21 PM Page 3 WholeCataloguePG1-21 4/27/07 3:22 PM Page 4 or over a decade Tartaruga Design has been supplying discerning homeowners and design and building professionals with the most distinctive collection of hand-sculpted mantelpieces available. Carefully researched and impeccably crafted, our timeless designs and sculptural expertise have become the industry’s benchmark for value and excellence. An almost unlimited combination of design ach Tartaruga piece is imbued with the passion variations, material choices and hand finishes of Tartaruga’s owner and founder, Luca Savazzi. make each Tartaruga piece as unique as the properties and lives they have enriched. Born in Italy, Luca returns to Europe on a regular basis to expand his knowledge of architectural history and stonework. Thank you for your consideration and allowing Luca has over twenty years of design and sculptural us to share our passion with you. experience in bronze, stone, wood and clay. His inspirational 4 tartarugadesign. com WholeCataloguePG1-21 4/27/07 3:22 PM Page 5 Passion has always been “ the key to Tartaruga’s success. Passion for our craft, passion for fulfilling our clients’ visions, and a passion for trying to leave this world a little bit better than we found it.” Luca Savazzi - President studies of art and architecture in Italy, France, Holland, Spain, Portugal, Austria, and the United Kingdom are evident in the timelessness of his design drawings and sculptural work. -
ADP Bulletin 92 Mars 2020 P4-26 Les Mascarons
Bull 92 mars 2020 DEF Boby_Mise en page 1 17/03/20 22:41 Page4 PATRIMOINE Les mascarons de Pézenas Une touche de fantaisie et d’élégance Ces têtes ou masques de fantaisie sculptés décorent les clefs d’arcade, les fontaines, les portes. L’usage de ces visages remonte à l’Antiquité. Ils avaient un rôle protecteur, ils étaient censés éloigner les démons. Au Moyen Âge l’usage des sculptures aux représentations démoniaques enrichit le répertoire décoratif de ces visages de pierre. Au XV e siècle, suite à la découverte des peintures antiques de la Villa Auréa à Rome, appelées “grotteschi“, la Renaissance italienne va remettre au goût du jour ce répertoire ornemental. Les artistes italiens venus travailler pour François 1 er à Fontainebleau vont s’en inspirer. Les recueils de gravures de l’architecte Jacques Androuet du Cerceau vont également contribuer à la diffusion de ces ornements. À Versailles, au XVII e siècle on voit apparaître de nouveaux modèles qui vont enrichir le genre. Le XVIII e siècle, la grande mode des mascarons Au XVIII e siècle, le goût de la fantaisie, de l’exotisme, l’embellissement du cadre de vie, vont faire du mascaron un des ornements incontournables de l’architecture et de la modénature des façades. Toutes les villes vont se l’approprier et Pézenas ainsi que les villages de la basse vallée de l’Hérault n’y dérogent pas. Le mascaron, symbole identitaire, de notoriété va donc devenir très tendance. Hôtel Darles de Chamberlain. Les mascarons au XIX e siècle Un mascaron : c’est quoi ? Le trop plein de mascarons sur les façades au Un mascaron est un ornement sculpté XVIII e siècle va être décrié et ils vont peu à peu représentant un visage humain, animal, tomber en désuétude et disparaître progressi- fantastique ou grotesque.