Charles Rennie Mackintosh, 1868 - 1928
CASKET
About 1895
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Belgian Art Nouveau Candelabrum by Sculptor Égide Rombaux and Silversmith François Hoosemans. Made in Brussels in 1900, materials are silver, ivory and alabaster. From The National Gallery of Australia, accession number: 88.1492
(Source: searchthecollection.nga.gov.au)
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For #InternationalCatDay 😻
Richard H. Recchia (American, 1885 – 1983)
Persian Cat, 1931
Bronze, black patina, lost wax cast
49.53 x 26.03 x 30.48 cm (19 1/2 x 10 1/4 x 12 in.)
Museum of Fine Arts, Boston 1984.746
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Philippe Wolfers -The Vampire (1899)
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▪︎ Automaton in the form of a galley.
Date: 1626
Artist: Georg Burrer, (turning) (worked in Stuttgart 1598/99-1627), Georg Ernst, (turning work) (died after 1634), Christoph Schorkfel (mechanics)
Medium: Ivory, brass, linen, silk; Movement: iron
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Nature unveiling herself, Ernest Barrias, 1899, marble and onyx, Musée d'Orsay, Paris.
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Maiolica vase with love motifs (Italy, 1470–90).
The scroll held by the bird scroll is inscribed ‘Non te posso lassar’ (I cannot leave you).
Images and text information courtesy The Met.
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The Rose, Alfons Mucha, 1898
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National Portrait Gallery, Washington, DC
photo: David Castenson
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Octopus Chatelaine. Manufactured by William B. Kerr & Co. in Newark, New Jersey, ca. 1900. Medium is 800 silver, sterling silver. From the collection of Mary Nunn, exhibited by SFO Museum for their 'The Allure of Art Nouveau' exhibition, Feb 13, 2016–Aug 26, 2016.
(Source: sfomuseum.org)
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#TilesOnTuesday + #TwoForTuesday:
165 & 349 “Porcupine”
Usually these tile pairs are duplicate compositions, but not these! 👀
From the ongoing search for all the animals from the 420 original 1906 Moravian tile mosaics by Henry Mercer on the Pennsylvania Capitol floor.
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Shellwork Basket of Flowers
c.1840s
Probably New England Region, United States
Museum of Fine Arts, Boston (Accession Number: 2010.598.1-3)
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▪︎ Drinking vessel belonging to Basel’s shoemakers’ guild.
Place of origin: Basel, Switzerland
Date: 1661
Medium: Leather, mouthpiece made of gold-plated silver.
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Decorative Sunday with Henry P. Kirby
These charming sketches are the work of New York architect Henry P. Kirby (1853 - 1915). Architectural Compositions contains fifty loose plates printed on Whatman paper and housed in a portfolio. It was published in Boston in 1892 by Bates, Kimball & Guild, publishers of one of the United State’s leading architectural journals of that time, The Architectural Review (Boston), not to be confused with the longer running Architectural Review still in publication out of London.
Kirby would have been working as a draftsman for George B. Post at the time of publication, for whom he later worked as lead designer before striking out on his own. Some of the subject matter also evokes Kirby’s time in France, where he studied at the École des Beaux-Arts after training with his father, also an architect. Per the subtitle, some of the sketches were “made in connection with actual projects,” while many were “the result of study during leisure moments.” I found Kirby’s eye for the human elements in his sketches particularly endearing, from the foreground figures to details on the buildings themselves, like open widows and overgrown foliage, or what looks like a duvet cover hanging out to dry (first image above).
For any music buffs reading, the final sketch includes some bars of "Très-jolie" from the opéra comique smash hit La Fille de Madame Angot.
Our copy of Architectural Compositions was gifted to UWM by Gustav A. Elgeti in 1966.
Find more Decorative Sunday posts here.
-Olivia, Special Collections Graduate Intern
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