Sale Catalogue (Furniture)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE AMERICAN UNIVERSITY in CAIRO School of Humanities And
1 THE AMERICAN UNIVERSITY IN CAIRO School of Humanities and Social Sciences Department of Arab and Islamic Civilizations Islamic Art and Architecture A thesis on the subject of Revival of Mamluk Architecture in the 19th & 20th centuries by Laila Kamal Marei under the supervision of Dr. Bernard O’Kane 2 Dedications and Acknowledgments I would like to dedicate this thesis for my late father; I hope I am making you proud. I am sure you would have enjoyed this field of study as much as I do. I would also like to dedicate this for my mother, whose endless support allowed me to pursue a field of study that I love. Thank you for listening to my complains and proofreads from day one. Thank you for your patience, understanding and endless love. I am forever, indebted to you. I would like to thank my family and friends whose interest in the field and questions pushed me to find out more. Aziz, my brother, thank you for your questions and criticism, they only pushed me to be better at something I love to do. Zeina, we will explore this world of architecture together some day, thank you for listening and asking questions that only pushed me forward I love you. Alya’a and the Friday morning tours, best mornings of my adult life. Iman, thank you for listening to me ranting and complaining when I thought I’d never finish, thank you for pushing me. Salma, with me every step of the way, thank you for encouraging me always. Adham abu-elenin, thank you for your time and photography. -
About a Type of Islamic Incense Burner 29
ABOUT A TYPE OF ISLAMIC INCENSE BURNER MEHMET AGA-OGLU NCENSE burners were no novel vessels produced to usheredinto a chamberand served a meal, after which the meet the specific needs of Islamic social life. The ori- incense burnerswere brought so that the guests could per- gin of thurification with various aromatic substances fume themselves before entering the caliph's presence.5 for magical, religious, or social occasions,and the devising The amount of aromatic substances,particularly aloes and of special vessels for the purpose,go far back to the histori- certain varieties of sandalwoods, used for thurification in cal beginnings of the Near Eastern peoples.1 Islam, al- the households of caliphs and dignitaries, must have been though in principle opposed to luxurious ways of life, did enormous. We are informed by al-Tabari, for example, not prevent the use of incense and perfumes. The popu- that Amr ibn al-Laith, the founder of the Saffarid dynasty larity of perfumes during the first centuries is best illus- of Eastern Iran, sent to Caliphal-Mu'tamid in the year 268 trated by the lengthy legistic opinions expressed in the (881/82) 200 minas of aloes wood which he had confis- Hadith literature,2and, among others, by a chapter in the cated from a grandson of Abu Dulaf.6 Among the proper- manual for elegant manners "of a man of polite education," ties left after his death in 301 (913), by Abu'l-Husayn written by Abu'l-Tayyib Muhammad ibn Ishaq al-Wash- Ali ibn Ahmad al-Rasibi, the 'Abbasid governor of Khu- sha.' zistan and neighboring territories,were great numbers of Historicalsources are extremely generous with accounts gold and silver vessels, perfumes, and other valuables, as on the subject.' A few examples can be cited here, and well as 4,420 mithkals of aloes wood for thurification.7 others will be presentedelsewhere. -
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. -
Illumination Underfoot the Design Origins of Mamluk Carpets by Peter Samsel
Illumination Underfoot The Design Origins of Mamluk Carpets by Peter Samsel Sophia: The Journal of Traditional Studies 10:2 (2004), pp.135-61. Mamluk carpets, woven in Cairo during the period of Mamluk rule, are widely considered to be the most exquisitely beautiful carpets ever created; they are also perhaps the most enigmatic and mysterious. Characterized by an intricate play of geometrical forms, woven from a limited but shimmering palette of colors, they are utterly unique in design and near perfect in execution.1 The question of the origin of their design and occasion of their manufacture has been a source of considerable, if inconclusive, speculation among carpet scholars;2 in what follows, we explore the outstanding issues surrounding these carpets, as well as possible sources of inspiration for their design aesthetic. Character and Materials The lustrous wool used in Mamluk carpets is of remarkably high quality, and is distinct from that of other known Egyptian textiles, whether earlier Coptic textiles or garments woven of wool from the Fayyum.3 The manner in which the wool is spun, however – “S” spun, rather than “Z” spun – is unique to Egypt and certain parts of North Africa.4,5 The carpets are knotted using the asymmetrical Persian knot, rather than the symmetrical Turkish knot or the Spanish single warp knot.6,7,8 The technical consistency and quality of weaving is exceptionally high, more so perhaps than any carpet group prior to mechanized carpet production. In particular, the knot counts in the warp and weft directions maintain a 1:1 proportion with a high degree of regularity, enabling the formation of polygonal shapes that are the most characteristic basis of Mamluk carpet design.9 The red dye used in Mamluk carpets is also unusual: lac, an insect dye most likely imported from India, is employed, rather than the madder dye used in most other carpet groups.10,11 Despite the high degree of technical sophistication, most Mamluks are woven from just three colors: crimson, medium blue and emerald green. -
Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors. -
Bijildings on the West Side of the Ag-Ora
BIJILDINGS ON THE WEST SIDE OF THE AG-ORA PLATES I-VITI INTRODUCTION' The region to the north of the Areopagus and to the east of Kolonos Agoraios had many natural advantages to recommend it as the site for thZecentral public place of the com- munity (Fig. 1). It was the most open and level area of any extent beneath the immediate shelter of the Acropolis. Along its southern edge a series of springs bubbled out from the foot of the Areopagus, so abundant as to have formed the principal source of drinking water in the city throughout antiquity. A gentle slope toward the north guaranteed adequate natural drainage, desirable for private habitation and essential for the construc- tion of large public buildings. The region lay, moreover, on the direct route between the Acropolis and the Dipylon, the principal gate of the city, and so was conveniently situated alike for residents and visitors. Actual habitation in the area can now be shown to extend at least well back into the second millennium B.C. Scattered fragments of household pottery of typical Middle Helladic types, Gray Minyan and Matt-painted wares, have appeared above bedrock along the north foot of the Areopagus, along the east slope and foot of Kolonos and even at the north foot of Kolonos. A simple shaft burial not later than this period was made near the mid point of the east foot of the latter hill 2 (Fig. 64, Section C-C). Practically no house- hold pottery of Late Helladic times has been found in the area so that there is no direct evidence for habitation in this period. -
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. -
Attic Pottery of the Later Fifth Century from the Athenian Agora
ATTIC POTTERY OF THE LATER FIFTH CENTURY FROM THE ATHENIAN AGORA (PLATES 73-103) THE 1937 campaign of the American excavations in the Athenian Agora included work on the Kolonos Agoraios. One of the most interesting results was the discovery and clearing of a well 1 whose contents proved to be of considerable value for the study of Attic pottery. For this reason it has seemed desirable to present the material as a whole.2 The well is situated on the southern slopes of the Kolonos. The diameter of the shaft at the mouth is 1.14 metres; it was cleared to the bottom, 17.80 metres below the surface. The modern water-level is 11 metres down. I quote the description from the excavator's notebook: The well-shaft, unusually wide and rather well cut widens towards the bottom to a diameter of ca. 1.50 m. There were great quantities of pot- tery, mostly coarse; this pottery seems to be all of the same period . and joins In addition to the normal abbreviations for periodicals the following are used: A.B.C. A n tiquites du Bosphore Cimmerien. Anz. ArchaiologischerAnzeiger. Deubner Deubner, Attische Feste. FR. Furtwangler-Reichhold, Griechische Vasenmxlerei. Kekule Kekule, Die Reliefs an der Balustrade der Athena Nike. Kraiker Kraiker,Die rotfigurigenattischen Vasen (Collectionof the ArchaeologicalIn- stitute of Heidelberg). Langlotz Langlotz, Griechische Vasen in Wiirzburg. ML. Monumenti Antichi Pu'bblicatiper Cura della Reale Accadenia dei Lincei. Rendiconti Rendiconti della Reale Accademia dei Lincei. Richter and Hall Richter and Hall, Red-Figured Athenian Vases in the Metropolitan Museum of Art. -
Art Concepts
ANCIENT ART - Greece Acropolis Greek, “high city.” In ancient Greece, usually the site of the city’s most important temple(s). Amphora A two-handled jar used for general storage purposes, usually to hold wine or oil. Archaic Smile In Archaic Greek sculpture, the smile sculptors represented on faces as a way of indicating that the person portrayed is alive. Atlant (Atlas) A male figure that functions as a supporting column. Black-Figure In early Greek pottery, the silhouetting of dark Painting figures against a light background of natural, reddish clay, with linear details incised through the silhouettes. Capital The uppermost member of a column, serving as a transition from the shaft to the lintel. In classical architecture, the form of the capital varies with the order. Caryatid A female figure that functions as a supporting column. Cella The chamber at the center of an ancient temple; in a classical temple, the room (Greek, naos) in which the cult statue usually stood. ANCIENT ART - Greece Centaur In ancient Greek mythology, a fantastical creature, with the front or top half of a human and the back or bottom half of a horse. Contrapposto The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called “weight shift” because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other. Corinthian Corinthian columns are the latest of the three Greek styles and show the influence of Egyptian columns in their capitals, which are shaped like inverted bells. -
Junior High-High School Edition)
1 Glossary for the Virtual Tour (Junior High-High School Edition) A Acanthus – Representation of Acanthus plant leaf used in architecture and decorative arts as an ornamental motif, specifically in Classical architecture of the Greeks and Romans. Also used in the capital of the Corinthian order. Ad valorem taxes – Ad valorem is a Latin phrase meaning “according to the value,” meaning it is a tax proportional to the value of the underlying asset. Usually a type of property tax. Alabaster – A type of fine-grained gypsum that has been used for statuary, carvings, ornaments, church fittings, and monuments. Normally snow-white in color, however, it can be dyed or even be translucent depending on the treatment. Ante-chamber – A room that serves as a waiting area and entry to a larger chamber. Anthemion – A decoration in architecture consisting of radiating petals and used widely in Classical architecture. Arch – A curved structure, usually a doorway or gateway, that serves as support for a structure. Architect – A skilled person in the art of building, who designs complex structures such as government buildings, monuments, housing, etc. Architecture – The art and technique of designing and building. Architrave – In Classical architecture, the lowest section of the entablature (see entablature) directly above the capital of a column. Art Nouveau – Meaning “new art,” Art Nouveau is a style of art and architecture that was popular in the late 19th and early 20th centuries. It is known by its floral designs, flowing lines, and curved tendrils. Attic – Denotes any portion of a wall above the main cornice (see cornice). -
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.