Showing posts with label tables. Show all posts
Showing posts with label tables. Show all posts

Thursday, November 13, 2025

Nickolas Muray

Nickolas Muray
The Brigand
ca. 1921
bromide print
National Museum of American History, Washington DC


Nickolas Muray
The Archer
ca. 1921
bromide print
National Museum of American History, Washington DC

Nickolas Muray
Michel Fokine
ca. 1921
bromide print
National Museum of American History, Washington DC

Nickolas Muray
Ann Harding in The Lonely Heart
1921
bromide print
National Museum of American History, Washington DC

Nickolas Muray
Cast of Dinner at Eight drinking Coca-Cola
1934
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Model with Cake Roll for McCall's Magazine
1938
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Tomatoes for Campbell's Soup Advertisement
ca. 1940
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Model surrounded by Houseplants 
(impersonating a G.I. at War, for McCall's Magazine)
ca. 1943
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Homemaking Cover for McCall's Magazine
1944
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Chocolate Pie for McCall's Magazine
1944
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Miss Rhinegold
ca. 1944
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Marlene Dietrich
1946
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Frida Kahlo
1946
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Jane Powell
ca. 1947
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Ginger Rogers
1947
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Janet Leigh for Modern Screen
1950
tricolor carbro print
National Museum of American History, Washington DC

Nickolas Muray
Esther Williams
1951
tricolor carbro print
National Museum of American History, Washington DC

from Claudian's Rufinus: or, The Court Favourite's Overthrow

He* pass'd his Journey, to the Court arriv'd,
There soon by Arts which thrive in Courts he thriv'd;
Straight reign'd Ambition, Right began to fail,
And Posts and Places all were set to Sale.
Blazing their Secrets, he his Suitors cheats;
Begs Titles from his Prince, new Lords creates,
Gives them new Names, and takes their old Estates.
Where of the least Offence he catches hold,
He fines the poor Offender forty fold:
He stifles rising Mercy, and improves
Each turn of Thought that Royal Vengeance moves:
Where his Spite strikes – Death waits on ev'ry Blow,
Slight Wounds turn mortal and green Gangrenes grow.

– Claudian (AD 370-404), translated by Aaron Hill (1730)

*Hill's translation is directed against Sir Robert Walpole, Prime Minister

Thursday, March 30, 2023

Extremely Refined Furniture (17th-18th Centuries)

Jean-Henri Riesener
Drop-Front Secretary (detail)
1783
oak veneered with ebony and Japanese lacquer panels,
gilt-bronze mounts, marble top
Metropolitan Museum of Art, New York

Jean-Henri Riesener
Drop-Front Secretary
1783
oak veneered with ebony and Japanese lacquer panels,
gilt-bronze mounts, marble top
Metropolitan Museum of Art, New York

attributed to Thomas and René Pelletier
Mirror
ca. 1690
glass, verre eglomisé, giltwood
Metropolitan Museum of Art, New York

attributed to Thomas Pelletier
Pier Table
ca. 1705
gilded pine and beech, inlaid marble top
Royal Collection, Great Britain

attributed to Thomas Pelletier
Pier Table
ca. 1705
gilded pine and beech, inlaid marble top
Royal Collection, Great Britain

Anonymous French Maker
Folding Stool
ca. 1735-39
carved and gilded walnut
Metropolitan Museum of Art, New York

Anonymous French Maker
Folding Stool (detail)
ca. 1735-39
carved and gilded walnut
Metropolitan Museum of Art, New York

Anonymous French Maker
Console Tabler
18th century
carved and gilded wood, marble top
Metropolitan Museum of Art, New York

Anonymous French Maker
Console Table
18th century
carved, painted and gilded oak, marble top
Metropolitan Museum of Art, New York

Anonymous French Maker
Console Table (detail)
18th century
carved, painted and gilded oak, marble top
Metropolitan Museum of Art, New York

Anonymous French Maker
Console Table (detail)
18th century
carved, painted and gilded oak, marble top
Metropolitan Museum of Art, New York

Anonymous French Maker
Candle Stands
ca. 1700
carved and gilded walnut
Metropolitan Museum of Art, New York

Bernard II van Risenburgh
Table en Chiffonière
ca. 1760
oak and pine veneered with exotic woods,
gilt-bronze mounts
Metropolitan Museum of Art, New York

attributed to Thomas and René Pelletier
Pier Table
(built as support for Japanese lacquer cabinet)
ca. 1705
giltwood
Royal Collection, Great Britain

Jean-Henri Riesener
Corner Cabinet
ca. 1785
oak and mahogany, gilt-bronze mounts, marble top
Art Institute of Chicago

"How do we arrive at a clear conception of an object in space?  We first look at its parts singly, then the combination of parts, and finally the totality.  Our senses perform these various operations with such astonishing rapidity that they seem to us to be but one single operation, and this rapidity is absolutely necessary if we are to receive an impression of the whole, which is nothing more than the result of the conception of the parts and of their combination.  Now let us assume that the poet takes us from one part of the object to the other in the best possible order; let us assume that he knows how to make the combination of these parts ever so clear to us; how much time would he use in doing this?  That which the eye takes in at a single glance he counts out to us with perceptible slowness, and it often happens that when we arrive at the end of his description we have already forgotten the first features.  And yet we are supposed to form a notion of the whole from these features.  To the eye, parts once seen remain continually present; it can run over them again and again.  For the ear, however, the parts once heard are lost unless they remain in the memory.  And even if they do remain there, what trouble and effort it costs to renew all their impressions in the same order with the same vividness; to review them in the mind all at once with only moderate rapidity, to arrive at an approximate idea of the whole!"   

– Gotthold Ephraim Lessing, from Laocoön: an Essay on the Limits of Painting and Poetry (1766), translated by Edward Allen McCormick (1984)