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Mada­gas­car, Africa ♥ — withVick­ie Squiers,Vic­tor Hazbun Anuff,Sandy Yu,Kairu Har­shah Mitravin­da,mar­avil­loso,Maja Djord­je­vic,Haema Sarawanam,Tam Kiss,Cuen­ta Inválida,Alexys Wil­son,Koma­la S …

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Mada­gas­car, Africa ♥ — with

Vick­ie Squiers,

Vic­tor Hazbun Anuff,

Sandy Yu,

Kairu Har­shah Mitravin­da,

mar­avil­loso,

Maja Djord­je­vic,

Haema Sarawanam,

Tam Kiss,

Cuen­ta Inválida,

Alexys Wil­son,

Koma­la S …

fuckyeahlalique:

Carnations and pearl brooch. Rene Lalique (1860 -1945) Circa 1897 -1898. Pearl, gold, glass, enamel. 3 x 2 x 0.5 in (7.62 x 5.08 x 1.27 cm)

fuckyeahlalique:

Carnations and pearl brooch. Rene Lalique (1860 -1945) Circa 1897 -1898. Pearl, gold, glass, enamel. 3 x 2 x 0.5 in (7.62 x 5.08 x 1.27 cm)

fuckyeahlalique:

Water nymphs pendant. Rene Lalique (1846 - 1945). Circa 1900 - 1902. Gold, glass, enamel and diamonds. 7 x 6 cm.  Housed Gulbenkian Museum - The Calouste Gulbenkian Foundation
Thanks again to Scala Archives for materials and dating.
moomin53:


Lalique

fuckyeahlalique:

Water nymphs pendant. Rene Lalique (1846 - 1945). Circa 1900 - 1902. Gold, glass, enamel and diamonds. 7 x 6 cm.  Housed Gulbenkian Museum - The Calouste Gulbenkian Foundation

Thanks again to Scala Archives for materials and dating.

moomin53:

Lalique

objectcuriosity:

Group of Japanese Figures, Meissen Porcelain Factory, Germany, c.1745, hard paste porcelain, polychrome enamel decoration, gilt bronze mounts, Getty.

objectcuriosity:

Group of Japanese Figures, Meissen Porcelain Factory, Germany, c.1745, hard paste porcelain, polychrome enamel decoration, gilt bronze mounts, Getty.

(Source: cultureandkitsch)

objectcuriosity:

Locket, mid 18th century, England, gold with openwork set with garnets enclosing a painting on ivory, incorporating hair,  set with agate, Victoria and Albert Museum.
Hair had long been important in sentimental jewellery, but during the 18th century it took on a new prominence. It could now form the centrepiece of a jewel, either arranged in complicated motifs or as plain, woven sections. Tiny fragments of hair could even be incorporated into delicate paintings, as is the case here. Hair jewels were worn to cherish the living as well as to remember the dead, and the survival of many pieces celebrating love and friendship indicates that these objets had great social importance. 

objectcuriosity:

Locket, mid 18th century, England, gold with openwork set with garnets enclosing a painting on ivory, incorporating hair,  set with agate, Victoria and Albert Museum.


Hair had long been important in sentimental jewellery, but during the 18th century it took on a new prominence. It could now form the centrepiece of a jewel, either arranged in complicated motifs or as plain, woven sections. Tiny fragments of hair could even be incorporated into delicate paintings, as is the case here. Hair jewels were worn to cherish the living as well as to remember the dead, and the survival of many pieces celebrating love and friendship indicates that these objets had great social importance. 

(Source: cultureandkitsch)

objectcuriosity:

TEAPOT OF THE WEEK
Teapot and Cover, c.1830, Coalport, England, porcelain painted with enamels and gilded, Victoria and Albert Museum.
The moulding and applied naturalistic decoration of this teapot is very elaborate, and would have been very expensive to manufacture, as well as vulnerable to damage during use. It would have been reserved for special occasions and display. 
The teapot, which was part of an entire service, was made at the Coalport factory in Shropshire, which specialised in elaborately decorated wares in the Rococo style. 

objectcuriosity:

TEAPOT OF THE WEEK

Teapot and Cover, c.1830, Coalport, England, porcelain painted with enamels and gilded, Victoria and Albert Museum.


The moulding and applied naturalistic decoration of this teapot is very elaborate, and would have been very expensive to manufacture, as well as vulnerable to damage during use. It would have been reserved for special occasions and display. 

The teapot, which was part of an entire service, was made at the Coalport factory in Shropshire, which specialised in elaborately decorated wares in the Rococo style. 

(Source: cultureandkitsch)

blastedheath:

Henri Fantin-Latour (French, 1836-1904), Nature morte de fiançailles [Engagement still life], 1869. Oil on canvas, 32.8 x 30.4 cm. Musée de Grenoble.
This painting was an engagement present from the artist to his future wife, Victoria Dubourg.

blastedheath:

Henri Fantin-Latour (French, 1836-1904), Nature morte de fiançailles [Engagement still life], 1869. Oil on canvas, 32.8 x 30.4 cm. Musée de Grenoble.

This painting was an engagement present from the artist to his future wife, Victoria Dubourg.

(via oldpainting)