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Coloring Their World: Americans and Decorative Color in the Nineteenth Century
Coloring Their World: Americans and Decorative Color in the Nineteenth Century A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History of the College of Arts and Sciences by Kelly F. Wright B.A. College of William and Mary 1985 M.A. University of Cincinnati 2001 Committee Chair: Wayne K. Durrill, Ph.D. i ABSTRACT Certain events in recent history have called into question some long-held assumptions about the colors of our material history. The controversy over the cleaning of the Sistine Chapel posited questions about color to an international audience, and in the United States the restoration of original decorative colors at the homes of many historically significant figures and religious groups has elicited a visceral reaction suggesting the new colors challenge Americans’ entrenched notions of what constituted respectable taste, if not comportment, in their forebears. Recent studies have even demonstrated that something as seemingly objective as photography has greatly misled us about the appearance of our past. We tend to see the nineteenth century as a faded, sepia-toned monochrome. But nothing could be further from the truth. Coloring Their World: Americans and Decorative Color in the Nineteenth Century, argues that in that century we can witness one of the only true democratizations in American history—the diffusion of color throughout every level of society. In the eighteenth century American aristocrats brandished color like a weapon, carefully crafting the material world around them as a critical part of their political and social identities, cognizant of the power afforded them by color’s correct use, and the consequences of failure. -
Hydro Force Catalog
www.johnson-wholesale.com 2011- 2012 Product Catalog Johnson Wholesale I (828) 283 1999 HYDRO-FORCETM la _LE CARPETS • UPHOLSTERY • RESTORATION • HARD SURFACE 111 IA 2 M (*RPET REPAIR • VAN ACCESSORIES • TOOLS & CESSORIES 11101iTO Table of Contents Hard Surface Floor Cleaning Equipment, Tools Dehumidifiers ...................................................... 48 Meters ................................................................ 50-53 and Accessories, 1-6 Odor Removal ...................................................... 54-55 SX-15 Hard Surface Tool ................................................... 1 Floor Drying Systems .............................................. 56 Gekko Hard Surface Tools ................................................ 2-3 Protective Clothing ................................................ 60-61 Spinergy Stone Polishing Pads .......................................... 5 Air Duct Cleaning .................................................. 62 Carpet and Upholstery Cleaning Equipment, Pumps and Motors, 63 Tools and Accessories, 7-42 Olympus Extractor Portables ............................................. 7 Chemical Solutions, 64-78 Sprayers ..................................................................... 10-13 Carpet, Upholstery and Rugs ..................................... 64-66 Floor Machines ............................................................ 14-16 Stone,Tile, Concrete and Grout Cleaning and Sealing ...... 66-68 www.johnson-wholesale.com Wands and Upholstery Wands ......................................... -
PO Box 957 (Mail & Payments) Woodbury, CT 06798 P
Woodbury Auction LLC 710 Main Street South (Auction Gallery & Pick up) PO Box 957 (Mail & Payments) Woodbury, CT 06798 Phone: 203-266-0323 Fax: 203-266-0707 April Connecticut Fine Estates Auction 4/26/2015 LOT # LOT # 1 Handel Desk Lamp 5 Four Tiffany & Co. Silver Shell Dishes Handel desk lamp, base in copper finish with Four Tiffany & Co. sterling silver shell form interior painted glass shade signed "Handel". 14 dishes, monogrammed. 2 7/8" long, 2 1/2" wide. 1/4" high, 10" wide. Condition: base with Weight: 4.720 OZT. Condition: scratches. repairs, refinished, a few interior edge chips, 200.00 - 300.00 signature rubbed. 500.00 - 700.00 6 Southern Walnut/Yellow Pine Hepplewhite Stand 2 "The Gibson" Style Three Ukulele Southern walnut and yellow pine Hepplewhite "The Gibson" style three ukulele circa stand, with square top and single drawer on 1920-1930. 20 3/4" long, 6 3/8" wide. square tapering legs. 28" high, 17" wide, 16" Condition: age cracks, scratches, soiling, finish deep. Condition: split to top, lacks drawer pull. wear, loss, small edge chips to top. 1,000.00 - 200.00 - 300.00 1,500.00 7 French Marble Art Deco Clock Garniture 3 Platinum & Diamond Wedding Band French marble Art Deco three piece clock Platinum and diamond wedding band containing garniture with enamel dial signed "Charmeux twenty round diamonds weighing 2.02 carats Montereau". 6 1/2" high, 5" wide to 9 3/4" high, total weight. Diamonds are F color, SI1 clarity 12 1/2" wide. Condition: marble chips, not set in a common prong platinum mounting. -
Oriental Rugs from Persia, Afghanistan, Turkey
Modified By The Rug Guru Oriental Rugs From Persia, Afghanistan, Turkey ... Turkmen Rugs Geography West Turkestan is an area of some 700,000 square kilometres with the Caspian Sea to the west, the Mangyshlak Peninsula to the northeast and the Kapet-Dagh Mountains and the outskirts of the Hindukush forming a semicircle to the south. West of what since 1924 has been the border of the Soviet Socialist Republic of Turkmenistan are Afghanistan and the Iranian province of Khorassan. At the eastern side is the huge Chinese province of Xinjiang (Sinkiang). Usually referred to in the context of weaving literature as East Turkestan. Thus viewed in simple geographic terms, it is easier to understand the nature of this Eurasian basin, part of the ancient world's dry belt. To the western side of the region is the Karakum desert and to the east, between the Amu- Darya and Syr-Darya rivers, is the Kyzylkum desert. To the south, that there was earlier the Soviet Socialist Republic of Uzbekistan, now this independent state, are the important trading centres of Bukhara and Samarkand. The latter having been a major post along the ancient Silk Road, which ran from China through East Turkestan and on westwards, via Tashkent in Uzbekistan, Mary (Merv) in Turkmenistan and Khorasan. Many different ethnic groups have occupied this region for millennia and among those associated with weaving, in addition to the Turkmen's themselves, are the Uzbeks, Karakalpaks and Kirgiz. Historical Research Serious research into the weaving culture of the Turkmen's must, of course, encompass more than aesthetic appreciation. -
Anatomy of Persian & Oriental
dÌ¿z»ZÀ¼ÁdÌ¿¹Â¸ »Öf{Ä],§d§Z]ÁxËZe0 ½ZÌ¿YËYįdY¾ËYº¸»|« |ÁĬÀ»¹Y|¯Y§d§Z]į «YÁ{ |¿YÃ{¯Á/Y§d§Z]į|Àf/ÅÖ»Y«Y¾Ì·ÁYĸ¼mY YÌ]{ÁZf/{Ö§Z]§»Y{,Á»Y½ZÌ¿YËY{§Ä]vÀ»/v^e dYÄÀÌ»¾ËY{Ä]neÁÔeµZ www.Rug.VestaNar.com Nasir al-Mulk Nasir al-Mulk is a famous historic mosque in the center of Shiraz, located near the Shah Cheragh shrine. It was constructed in the Qajar Dynasty in 1876 by Lord Mirza Hasan Ali Nasir al Mulk. The mosque is known for its extensive use in colored glass in its façade. The construction of the mosque uses other traditional structural elements as well such as “panj kasehi” (five concaves). These days, the mosque is more of a tourist attraction than a place for prayer. Like all mosques in Iran, you must remove your shoes before entering and the floor is lined with Persian rugs from wall to wall. We found out that underneath the rugs is actually a beautiful marble floor as well. www.Rug.VestaNar.com ½YËY¥Z^f{§½Z³|ÀÀ¯{ZÁ½Z³|ÀÀ¯|Ì·ÂeÄË{ZveYÄ»Z¿¶§ ¿Yc¸y{ ¹ÔY¾Ì^»¾Ë{½YÁY§ÄmÂeÄ]¶^«Ä·Z¬»{ÁÄË¿Y¾ÌÌaÃZ¼{ ºË{¯ÃZYZÆ¿Z¿YÖËZÌ¿{¶ËZ»Ä] ½M«cZËMYÖy]ÄÀËY¾¼ dY]Y]ºË¯½M«{cyMÁZÌ¿{cZ¼¸¯Y°e{Y| eį|Äf¨³ Á ºË{ÁMµZj»|ÅZ½YÂÀÄ]dYÄf§³Y«|̯Pe{»cyMÄ]ÄmÂeZÀ¯{ZÌ¿{Ä]ÄmÂeZÆ¿M{įYºË¯ įd¨³ºÌÅYÂy\¸»Ä»Y{Y{®ÀËY Ã|Á|À¿Z» dYÃ{Y{½ZÅZÀ³ÁÖZ »YÕZÌ]]cyMºÅZÌ¿{ºÅÕÁyYÁÕÂÌ¿{[Y~Ã|ÁºË¯½M«{|¿ÁY|y |ÀÀ¯Ö»\ËzeY|mZ»Ä¯Ö¿Z¯Á{ÂÖ»|mZ»{¹{»ÂuY¿Z»Ä¯Ö¯]cyMÁZÌ¿{{[Y~ ì]ÃÂÄËM 3 4 3 3 Ê5§º7 Æ4 3·Á3 É1 7 yZ5 Ì3 7¿|·YÊG 5§º7 Æ4 3·¾Ì3 ¨5 5WZy3 ÓF 5SZÅÂ3 ¸4 y4 |7 3˽7 Oº7 Æ4 3·½Z3 ¯Z3 »3 ®3 X5 3·ÁOZÆ3 5]Y3 yÊ3 5§Ö 3 3 Á3 Ä4 ¼4 YZ7 ÆÌ3 5§3 ¯3 ~7 4˽7 O5×YF |3 mZ5 3 »3 3 À3 »3 ¾7 ¼F »5 º4 3¸7 O¾7 »3 Á3 ºÌ1 -
2006 MNA Navajo Textile Report
THE NAVAJO TEXTILE COLLECTION AT THE MUSEUM OF NORTHERN ARIZONA BY LAURIE D. WEBSTER, PH.D. JANUARY 2006 1 TABLE OF CONTENTS Introduction 3 The Navajo Textile Collection at the Museum of Northern Arizona 4 Classic Period Textiles (to ca. 1870) 4 Late Classic Period Textiles (ca. 1868-1880) 4 Transition Period Blankets and Rugs (ca. 1880-1890) 5 Specialized Styles of the Nineteenth Century 7 Chief-style Blankets and Rugs 7 Women's Wearing Blankets 8 Women's Two-Piece Dresses 8 Rio Grande Influence ("Slave Blankets") 9 Moqui Pattern Blankets and Rugs 10 Wedge Weave Blankets 11 Germantown Blankets and Rugs 11 Overview of Textiles from the Early Rug Period (ca. 1890-1920) 12 Overview of Textiles from the Early Modern Period (ca. 1920-1940) 13 Overview of Textiles from the Modern Period (ca. 1940-present) 14 Regional Styles 14 Hubbell Revival Weavings 14 Ganado/Klagetoh Rugs 15 Early Crystal Rugs 16 Two Grey Hills Rugs 16 Teec Nos Pos Rugs 16 Red Mesa Outline Rugs 17 Early and Modern Chinle Rugs 17 Modern Crystal Rugs 18 Wide Ruins/Pine Springs Rugs 19 Burntwater Rugs 19 Nazlini Rugs 20 Sawmill Rugs 20 Other Specialized Styles and Miscellaneous Weavings 20 Storm Pattern Rugs 20 Modern Revival Rugs 21 Rugs with Compound Designs 21 Yei and Yeibichai Weavings 21 Sandpainting Rugs and Tapestries 22 Pictorial Weavings 23 Raised Outline Rugs 24 Tufted Rugs 24 Twill-woven Rugs and Saddle Blankets 25 Two-Faced Rugs and Saddle Blankets 26 Tailored and Non-Tailored Garments 26 Belts and Garters 26 Miscellaneous Textiles 27 Important Sub-Collections of Navajo Textiles at MNA 28 2 Summary and Recommendations 33 References Cited 36 Appendix I: List of Navajo Textiles at the Museum of Northern Arizona 37 Appendix II: Navajo Textiles in Good or Excellent Condition for Rotating Exhibit 61 3 INTRODUCTION The Museum of Northern Arizona is home to one of the largest and most important collections of Navajo textiles in the world. -
Seth Magaziner General Treasurer
State of Rhode Island and Providence Plantations Seth Magaziner General Treasurer Names of Persons Appearing to be Owners of Abandoned Museum Property RIGL 33-21.1-18 Property Reported 6/1/14 to 12/31/14 The Office of the General Treasurer partners with MissingMoney.com, the officially endorsed search engine of the National Association of Unclaimed Property Administrators. Start your claim online at http://treasury.ri.gov/unclaimed Office of the General Treasurer | 50 Service Ave | Warwick, RI 02910 | 401-462-767 1 Universi ID Number Address Contact Telephone Culture Object Dimensions Description Last Known Lender/Owner ty Length: 609.6 cm (240 inches) Bakhtiari carpet; Not classical. Late 18th-early 19th RISD 224 Benefit St, Deborah Width: 186 cm (73 1/4 inches) century; Central Iran. Bakhtiari floral medallion unknown ownership; no record of loan; in custody for INV2003.208 401-454 -6473 Persian Carpet Museum Providence Diemente (narrowest) design; Dark blue, red and orange; .Cotton warp and many years; documented in 2003-2004 weft; wool pile. Some repairs; Inscribed and dated at Width: 487.7 cm (192 inches) (widest) bottom center border. Pile rug, striped, flatweave border, end of diagonal 87.6 cm (34 1/2 inches) (width) Tube striped border in brown, red and blue; Commercial RISD 224 Benefit St, Deborah length: 37.25 inches. grade Baluch rug with boteh in field. 19th century. unknown ownership; no record of loan; in custody for INV2003.209 401-454 -6474 Baluch Rug Museum Providence Diemente Wool warp, weft, and pile; Typical long flatwoven many years; documented in 2003-2004 157.5 cm (62 inches) (length) skirts (ends) and typical Baluch coloring; Dark blue, brown, red, white. -
The Berlin Dragon-Phoenix Carpet and Its Probable
THE BERLIN DRAGON-PHOENIX CARPET Architecture is perhaps the most stable in terms of geographic location of production: we know with total precision where a church was erected and usually the authority responsible for it. Portable AND ITS PROBABLE ARMENIAN ORIGIN objects–painting, manuscripts, ceramics, metalwork, and of course textiles, including carpets, present the obvious problems of place, date, and attribution. Dickran Kouymjian (Haig Berberian Professor of Armenian Studies, Emeritus, Inscriptions are of great help in determining provenance for such mobile objects, but artists did California State University, Fresno & Paris) not always leave their mark. Early medieval European art was ofen intentionally anonymous. Rugs and carpets were very rarely inscribed, thus there is the thorny and constant problem of date Te history of Armenian carpet weaving is still a fragmented discourse known mostly within and provenance. Tere is a fairly large group of later Islamic rugs, mostly in the Top Kapi Palace Armenian circles. Many of its basic facts are or have been challenged, or simply rejected, by collection, with important religious inscriptions, (fg. 1) but these are probably early nineteenth determined nationalistic policies of neighboring political authorities, foremost among them the century rugs, suggested by some to have been manufactured in Hereke in an archaizing style16; there Republic of Azerbaijan and more subtly, but for a longer time, Turkey: for instance my copy of are also many Persian rugs with inscriptions. Perhaps the largest body of carpets with inscriptions is the English version of Şerare Yetkin‘s useful two volume Early Caucasian Carpets in Turkey of Armenian.17 Tis is not an accidental phenomenon. -
Servicemaster 2012
☞ Table of Contents | Product Index | Numeric Index Professional Cleaning Products • Equipment Product Catalog Supplies & Tools • Truck Mount Prochem: Setting the standard Innovation, quality and support combine for superior value Prochem has been in the chemical and capture design developed in 1984. Today, resale value in the industry. Having a truckmount manufacturing business a similar design is used by nearly all reputation for high heat, superior vacuum, since 1968 and has always led the way in manufacturers. reliability, and low-maintenance make innovation and quality. Setting the stan- And Prochem has moved on to more Prochem trucks the most sought-after dard for the industry is what Prochem innovations; based upon feedback from pre-owned units in the marketplace. has become known for, and that contin- carpet cleaning and restoration profes- Why? Because they last — for years. ues to be the direction the company is sionals, Prochem designed a new heat- Prochem has been utilizing the Carpet headed for in the future. exchange system that has revolutionized and Rug Institute’s (CRI) Seal of Prochem truly is No. 1 for a reason. The the industry. Approval to assist in showing the quality claim isn’t something that was made up Producing the same Prochem perfor- and performance of its equipment and by a marketing team, it’s a statement mance in a simple, easy-to-service and chemicals. All of Prochem’s truckmounts based upon fact. The results come from maintain package means that more time that have been tested, have met the Gold an unaided, independent study is spent making profits. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Of Silk, Wool and Cotton
OF SILK, WOOL AND COTTON F INE C ARPETSAND T EXTILE A RT VOL . 2 OF SILK, WOOL AND COTTON F INE C ARPETSAND T EXTILE A RT Specializing in Antique and Decorative carpets and textiles C ONTENTS Introduction p.9 A n a t o l i a p.10 The Caucasus p.26 P e r s i a p.58 Central Asia p.96 A NATOLIA STEPPED NICHE PRAYER RUG, CENTRAL ANATOLIA. Early 19th century. This rug displays all the necessary attributes of design, wool quality and structure to place it in the Karapinar district. An engaging ambiguity is established between the proportions of the arches and the striking yellow ground. Eight-pointed stars float in the field giving balance to the whole composition. 173 x 108 cm. 7 KARAPINAR RUNNER. KONYA, CENTRAL ANATOLIA. MINIMALIST RUG, EASTERN ANATOLIA. First quarter of the 19th century. ca.1850 or earlier. A breathtaking proportion for a well A serene empty salmon field occupies the drawn design. This unusual piece is whole piece, except for a simple zig-zag characterized by fascinating contrasts. border. 486 x 141 cm. 260 x 90 cm. 9 LADIK PRAYER RUG, CENTRAL ANATOLIA. Late 18th century. This unmistakable group of carpets comes from a place of the same name, that lies northwest of Konya. Most pile works of Ladik are prayer rugs with a specific layout. The layout consists of a Mihrab, or prayer niche, and invariably a row of tulips. Tulips and other floral embellishments show the influence of the Ottoman court. The tulip was the symbol of the decadent Ottoman court in the 18th century (the “lale devri” period). -
The Tree of Life Design 3
S. Busatta– The Tree of Life Design 3 Cultural Anthropology 39 - 55 The Tree of Life Design From Central Asia to Navajoland and Back (with a Mexican Detour) Part 3 Sandra Busatta The Navajo Tree of Life According to Navajo myth, the Dineh or the People were led to the Southwest from the underworld by the Holy People. Spider Boy taught the Navajos how to make a loom from sunshine, lightning and rain. Spider Woman taught them to weave. Weaving is a sacred art, embodying creation stories, prayers and ceremonial practices, the ancient and historical past. In weaving, the individual preserves hozho, a concept that combines order, beauty, balance and harmony. The Navajo, an Athabaskan-speaking people, live in the Southwest of the United States, mainly in the states of Arizona and New Mexico, and in the Four Corners area of Colorado and Utah, in exogamous matrilineal clans. Archaeologists say they migrated south from Canada into New Mexico sometime before 1500. However, they began to exist historically at the end of the 15th century, just before the Spanish entradas, and as a nation in the European sense, through a series of interactions with the USA in the 19th and 20th centuries. The history of Navajo weaving begins not with the Navajo people themselves, but with the Pueblo Indians. Although they remained nomadic, the Navajo did have settlements, and it was here that they learned how to weave from the neighboring Pueblo people. Navajo women, however, expanded the range of patterns by skipping over threads in the weft. Thus they were able to create angles that yielded patterns, rather than simply striped bands of color made by the Pueblo.