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)

Litho - III

Karl Schmidt-Hellerau
Sächsisch Thüringische
Industrie und Gewerbeausstellung
1897
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Alois Hans Schram
Jubilaeums Ausstellung, Vienna
1898
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Franz von Stuck
Art Exhibition of the Munich Secession in Basel
1898
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Josef Rudolf Witzel
Deutsche Kunst und Dekoration (magazine)
1898
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Eugène Grasset
Exposition A. Falguière, Sculpteur
1899
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Koloman Moser
Prince von Metternich's Richardsquelle (bottled water)
1899
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Édouard Vuillard
The Avenue
1899
lithograph
Graphische Sammlung Albertina, Vienna

Anonymous Austrian Artist
Woman with Canaries
ca. 1900
lithograph
Graphische Sammlung Albertina, Vienna

Adolf Böhm
Exhibition VIII - Vienna Secession
1900
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Paul Burck
Bund Zeichnender Künstler in München
ca. 1900
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Henri Cassiers
England via Ostend-Dover
ca. 1900
lithograph (poster)
Museum Folkwang, Essen

Wilhelm Schulz
Art Exhibition of the Berlin Secession
1900
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Hans Christiansen
Ausstellung der Künstlerkolonie, Darmstadt
1901
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Eugène Grasset
La Terre
(book by Auguste Robin)
1901
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Otto Fischer
Exhibition of Handcrafts from Dresden Workshops
1903
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Alfred Keller
Hagenbund XII Ausstellung
1904
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Those in Ithome, when they could no longer hold out, in the tenth year of the siege rendered the place to the Lacedaemonians upon condition of security to depart out of Peloponnesus and that they should no more return, and whosoever should be taken returning to be the slave of him that should take him.  For the Lacedaemonians had before been warned by a certain answer of the Pythian oracle to let go the suppliant of Jupiter Ithometes.  So they came forth, they and their wives and their children.  And the Athenians, for hatred they bore to the Lacedaemonians, received them and put them into Naupactus; which city they had lately taken from the Locrians of Ozolae.  The Megareans also revolted from the Lacedaemonians and came to the league of the Athenians because they were holden down by the Corinthians with a war about the limits of their territories.  Whereupon Megara and Pegae were put into the hands of the Athenians, who built for the Megareans the long walls from the city to Nissaea and maintained them with a garrison of their own.  And from thence it was chiefly that the vehement hatred grew of the Corinthians against the Athenians. 

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

Nouveau

Anonymous American Designer
Floral Wreaths
ca. 1908
machine printed wallpaper
Cooper Hewitt, Smithsonian Design Museum

Anonymous British Designer
Tulips
1907
intaglio-printed wallpaper
Cooper Hewitt, Smithsonian Design Museum

Duxer Porzellanmanufaktur (Bohemia)
Bust of a Woman with Irises
ca. 1900
porcelain
Chrysler Museum of Art, Norfolk, Virginia

Duxer Porzellanmanufaktur (Bohemia)
Bust of a Woman with Lady Slippers
ca. 1900
porcelain
Chrysler Museum of Art, Norfolk, Virginia

Aubrey Beardsley
Untitled
ca. 1890
line-block print
Chrysler Museum of Art, Norfolk, Virginia

Ethel Reed
The Boston Sunday Herald
ca. 1895
lithograph (advertising poster)
National Museum of American History,
Washington DC

René Lalique
Medal for Army Orphans
1916
brass
Cooper Hewitt, Smithsonian Design Museum

René Lalique
Stick Pin Finial with Butterfly
ca. 1890-1910
opal and silver, partly enameled
Cooper Hewitt, Smithsonian Design Museum

Georges-Alfred Bottini
Woman with Irises
1898
lithograph
Clark Art Institute, Williamstown, Massachusetts

Friedrich König
Design for Ornamental Figure
ca. 1905
watercolor on paper
Graphische Sammlung Albertina, Vienna

Anonymous French Designer
Anemone de Venus
ca. 1910
block-printed wallpaper
Cooper Hewitt, Smithsonian Design Museum

Anonymous American Designer
Blossoms
ca. 1906-1907
machine-printed wallpaper
Cooper Hewitt, Smithsonian Design Museum

Grueby Faience Company (Revere, Massachusetts)
Mermaid
ca. 1898
glazed ceramic tile
National Museum of American History, Washington DC

Hector Guimard
Paperweight from Madame Guimard's Desk
ca. 1909-1913
alabaster, bronze and gold
Cooper Hewitt, Smithsonian Design Museum

Henry van de Velde
Tropon - l'Aliment le plus concentré
1898
lithograph (advertising poster)
Cooper Hewitt, Smithsonian Design Museum

Henri Martin
Young Woman in Flowered Dress
ca. 1900
oil on canvas
Musée Henri Martin, Cahors

Fernand Moreau
Vase
ca. 1905
glazed earthenware
Reynolda House Museum of American Art,
Winston-Salem, North Carolina

Tiffany & Co.
Vase
ca. 1910
glass
Reynolda House Museum of American Art,
Winston-Salem, North Carolina

24 May 1946

    In the church the great marble memorial in the chapel next to the chancel hung over me, brooding in its eighteenth-century conceit.  What a world of egoism it was in itself!

    Family pride sweeping and stinking and swaggering up to God.  The marble peruke, the bloated marble bags under the eyes, the marble sneer (I mean a sneer) on the cold lip.  The sneer is nothing assumed, not a facial trick: it is just the black look of worldliness solidified.  Perhaps sneer is wrong.  It is not contempt; it is just preening, puffing of one's gold guineas and fine acres.  But I loved its solidity.  The medieval things in a church are nearly always ruthlessly repaired, so one flies to the memorials, the eighteenth-century marble world for relief. 

10 August 1946

    It was the New Yorker yesterday that asked me for a story.  Now today I am sent the Sun Bathing Review and told that Bernard Shaw, Laurence Housman, Naomi Mitchison, Vera Brittain, A.E. Coppard, J.C. Flugel, Robert Gibbings and C.E.M. Joad have written for it and will I write too – a likely theme, the value of nudity in schools "as a means of countering the unhealthy practices with which anyone who has been educated at a boarding school is familiar."

    I think the only thing I can truthfully say in reply is that I feel that nudity would increase the "unhealthy practices" whatever they may be, perhaps set a fashion through the whole school for them – that is, "nudity" of this magaziny-shiny-photograph sort.  The booklet is uncomfortable.  I know that if someone came into this room at this moment, I would hurriedly explain that it had been sent to me, and that I had not bought it for my own delight.  Why do other people's fetishes seem ugly and improper?  I am fond of naked people, but not of a great to-do and business of nakedness.  To read this magazine is to be half told that if everyone would suddenly strip off their clothes the world might be made quite wonderful.  

– from The Journals of Denton Welch (who was born in 1915, gravely injured in 1935, then wrote the journals between 1942 and his early death in 1948), edited by Michael De-la-Noy (1984)