Showing posts with label sardonyx. Show all posts
Showing posts with label sardonyx. Show all posts

Friday, July 17, 2026

Bijouterie (Genève)

Henri Vever
Belt Buckle
1897
gold (partly enameled)
Musées d'Art et d'Histoire, Genève

Gilbert Albert
Bracelet
ca. 1970
gold, turquoises, pearls
Musées d'Art et d'Histoire, Genève

Roman Empire
Theatrical Scene from Menander
140-80 BC
chalcedony cameo
Musées d'Art et d'Histoire, Genève

Etruscan Culture
Athena Promachos
550-525 BC
sardonyx scarab recut as intaglio
Musées d'Art et d'Histoire, Genève

Anonymous Swiss Jeweler
Bracelet
(concealing painted miniature)
ca. 1830
enameled gold, opals, rubies, emeralds, pearls
Musées d'Art et d'Histoire, Genève

Jean-François Bautte
Brooch
ca. 1825
enameled gold, turquoises, rose topazes
Musées d'Art et d'Histoire, Genève

Jean-François Bautte
Ear Pendants
ca. 1825
enameled gold, turquoises, rose topazes
Musées d'Art et d'Histoire, Genève

Anonymous French Jeweler
Pocket Watch
ca. 1825
gold, paved with graduated pearls
Musées d'Art et d'Histoire, Genève

Suzanne Belperron
Ear Clips
1967
gold, sapphires, emeralds and glass
(made in Paris using vintage gems)
Musées d'Art et d'Histoire, Genève

Louis Pautex-Meilland
Peach Brooch
ca. 1880-1900
enamel on copper
Musées d'Art et d'Histoire, Genève

Anonymous Swiss Jeweler
Brooch
ca. 1846
enameled gold, diamonds, ruby
Musées d'Art et d'Histoire, Genève

Anonymous Swiss Jeweler
Bracelet
ca. 1846
enameled gold, diamonds, ruby
Musées d'Art et d'Histoire, Genève

Marcel Constant Bastard
Finger-Ring as Bee with Watch
ca. 1930
enameled gold, diamonds, sapphires
Musées d'Art et d'Histoire, Genève

René Lalique
Pendant - Allegory of Autumn
ca. 1898-1900
enameled gold
Musées d'Art et d'Histoire, Genève

Marie-Mathilde Bedot
Necklace
ca. 1900
shell cameo and turquoises set in silver
Musées d'Art et d'Histoire, Genève

Henri Vever
Paper-Folder - Moth
1900
gold, silver, bronze
Musées d'Art et d'Histoir, -Genève

After the herald had said this, the Athenians sent a herald of their own to the Boeotians, denying that either they had done any wrong to the holy place already or would willingly do any hurt to it hereafter; for neither did they at first enter into it to such intent, but to requite the greater injuries which had been done unto them; as for the law which the Grecians have, it is no other but that they which have the dominion of any territory, great or small, have ever the temples also, and besides the accustomed rites, may superinduce what other they can: for also the Boeotians, and most men else, all that having driven out another nation possess their territory, did at first invade the temples of others and make them their own; that therefore, if they could win from them more of their land, they would keep it, and for the part they were now in, they were in it with a good will and would not out of it, as being their own; that for the water, they meddled with it upon necessity; which was not to be ascribed to insolence, but to this, that fighting against the Boeotians that had invaded their territory first, they were forced to use it; for whatsoever is forced by war or danger hath in reason a kind of pardon even with the god himself; for the altars, in cases of involuntary offences, are a refuge, and they are said to violate laws that are evil without constraint, not they that are a little bold upon occasion of distress; that the Boeotians themselves, who require restitution of the holy places for a redemption of the dead, are more irreligious by far than they, who, rather than let their temples go, are content to go without that which were fit for them to receive; and they bade him say plainly that they would not depart out of the Boeotian territory, for that they were not now in it, but in a territory which they had made their own, by the sword; and nevertheless, required truce, according to the ordinance of the country, for the fetching away of the dead.

To this the Boeotians answered that if the dead were in Boeotia, they should quit the ground and take with them whatsoever was theirs; but if the dead were in their own territory, the Athenians themselves knew best what to do.

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Friday, June 12, 2026

Solos

Alvar Aalto for Korhonen (Finland)
Side Table
1932
laminated birch and molded plywood
Museum of Modern Art, New York


Robert Adams
The River's Edge
2015
gelatin silver print
National Gallery of Art, Washington DC

Anonymous European Maker
Dodecahedron
17th century
ivory
Ashmolean Museum, Oxford

Stuart Arends
O.S. no. 11
1993
painted steel
Buffalo AKG Art Museum, New York

Andrea Baldeck
Kohlrabi
2006
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

Pierre Delabarre
Antique Roman Vase adapted as Baroque Ewer
ca. 1630
sardonyx, enameled gold, gems
(collection of Louis XIV)
Musée du Louvre

Elizabeth Damon
Untitled
1969
acrylic on canvas
Loeb Art Center, Vassar College, Poughkeepsie, New York

Joseph Beuys
Green Violin
1974
painted violin
Scottish National Gallery of Modern Art, Edinburgh

Hilla Becher
Oak Leaf
1965
gelatin silver print
Metropolitan Museum of Art, New York

Phyllida Barlow
Torque
2015
steel, polyurethane foam, cement, wool, paint
Scottish National Gallery of Modern Art, Edinburgh

Edgar Degas
Oinochoe in form of Youth's Head
ca. 1855
oil on canvas
Musée d'Orsay, Paris

Wilson Bentley
Snow Crystal
ca. 1920
gelatin silver print
Fine Arts Museums of San Francisco, Achenbach Foundation

Olaf von Bohr for Kartell (Italy)
Clothes Hook
1971
plastic
Museum of Modern Art, New York

Joseph Cornell
Untitled
ca. 1932
glass dome on wood base, metal spring, glass eye
Museum of Modern Art, New York

Alexander Calder
Comb
before 1943
hammered brass
Museum of Modern Art, New York

Christopher Dresser for Richard Perry (England)
Watering Can
ca. 1876
painted iron
Museum of Modern Art, New York

Walker Evans
Doorbell
1958
gelatin silver print
National Gallery of Art, Washington DC

Control of the passes was, he saw, the key
To this new district, but who would get it?
He, the trained spy, had walked into a trap
For a bogus guide, seduced with the old tricks.

At Greenhearth was a fine site for a dam
And easy power, had they pushed the rail
Some stations nearer. They ignored his wires.
The bridges were unbuilt and trouble coming.

– W.H. Auden (1928)

Thursday, March 19, 2026

Mirror

Édouard Manet
Before the Mirror
1876
oil on canvas
Guggenheim Museum, New York


Anonymous French Makers
Salt Cellar shaped as Fortification
15th century
agate bowl mounted in gold
(collection of Louis XIV)
Musée du Louvre

Mark Rothko
Untitled
1952
oil on canvas
National Gallery of Art, Washington DC

Anna Atkins
Enteromorpha intestinalis
ca. 1853
cyanotype
Metropolitan Museum of Art, New York

Sylvia Gosse
Self Portrait reflected in a Mirror
1918
watercolor and graphite on paper
Ashmolean Museum, Oxford

Anonymous French Makers
Cup
ca. 1650
brecciated jasper with silver-gilt mounts
(collection of Louis XIV)
Musée du Louvre

Mark Rothko
Untitled
1953
oil and glue on canvas
National Gallery of Art, Washington DC

Anna Atkins
Ptelea trifoliata
ca. 1845
cyanotype
Loeb Art Center, Vassar College, Poughkeepsie, New York

Claes Oldenburg
Side-view Mirror:
Proposed Colossal Monument for End of Navy Pier, Chicago

1967
watercolor and crayon on paper
Loeb Art Center, Vassar College, Poughkeepsie, New York

Anonymous French Makers
Bowl
ca. 1655
sardonyx with enameled-gold mount
(collection of Louis XIV)
Musée du Louvre

Mark Rothko
Untitled
1955
oil on canvas
National Gallery of Art, Washington DC

Anna Atkins
 Rhodomenia polycarpa
ca. 1853
cyanotype
Metropolitan Museum of Art, New York

Matt Saunders
Hanna and Mirror
2003
oil on plastic
Whitney Museum of American Art, New York

Anonymous French Makers
Cup
ca. 1685
agate with silver-gilt stem of harpies
(collection of Louis XIV)
Musée du Louvre

Mark Rothko
Untitled
1955
oil on canvas
National Gallery of Art, Washington DC

Anna Atkins
Spiraea aruncus (Tyrol)
ca. 1851-54
cyanotype
Metropolitan Museum of Art, New York

Fairfield Porter
The Mirror
1966
oil on canvas
Nelson-Atkins Museum of Art, Kansas City, Missouri

Maude Stanley to Maria Josepha, Lady Stanley                                                                 
[describing preparations to attend the wedding of Queen Victoria's eldest daughter Vicky to the Crown Prince of Prussia]
                                                                            Dover Street, January 22nd, 1858
Dear Grandmamma,
    There has certainly been a great deal to do in the clothing line, all nearly settled now.  Mama has had to imagine so many different dresses & colours: a red with black lace for the ball, a lilac with white lace for the wedding, a white with red velvet bows for the concert, & blue brocade for the drawing room.  My gowns have required less consideration being more easily concocted  . . .   

– from The Stanleys of Alderney, edited by Nancy Mitford (1939)