Stoneface Monday

The Crown of the Andes

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It’s gonna be a golden week… 👑 Crown of the Virgin of the Immaculate Conception (Crown of the Andes) — Gold, emerald. Spain ca. A.D. 1660 (base), ca. A.D. 1770 (arches). Colombia, Cauca Valley, Popayán. — “This imperial gold crown, worked in repousse and set with nearly 450 emeralds, was made to adorn a sculpture of the Virgin Mary venerated in Popayán, Colombia. A symbol of the Virgin's divine rulership, the crown is surmounted by four arches topped by a cross-bearing orb that symbolizes Christ's dominion over the world. The crown's diadem, an openwork band of foliate scrofls, is embellished with emeralds mounted in the form of flowers, a reference to the Virgin's purity. This combination of gold and emeralds also reflects the aesthetic preferences of Precolumbian cultures of Colombia and Panama.” • #goldobsession #spanishconquest #1600s #1700s #antiquegold #finejewelry #jewels #jewelgram #jewelsofinstagram #lovegold #antiquejewelryaddiction #emeraldjewelry #fabulousfashion #spanishstyle #imperial #antiquejewelry #emerald #highkaratgold #overthetop #colombianemerald #crown #diadem #goldenkingdoms #repousse #museumphotography #oldworld #goldsmith #metalwork #oldgold #👑

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L.C. Tiffany’s Daffodil Columns

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#🌼 In 1902, the same year he incorporated his growing company as Tiffany Studios, Louis Comfort Tiffany began construction on Laurelton Hall. The 84-room, 8-level country house was located on a 580-acre estate on Long Island, which also featured conservatories, stables and 60-acres of gardens. – The Daffodil Terrace was added to Laurelton Hall in 1915 or 1916. Located off of the dining room, this outdoor space was framed with eight slender columns made of Carrara marble. The concrete capitals of these columns were encrusted with cast- and cut-glass daffodils. These fantastic capitals were the result of years of thought and experimentation by Tiffany. – The artist integrated floral column capitals into the architecture of Lauralton Hall at least a decade before he added the Daffodil Terrace – the most notable early examples were the floral capitals decorating the south garden entrance, where bands of ceramic poppy, peony, lotus and magnolia blossoms crown long and elegant stems. These are the capitals that visitors to the Metropolitan Museum of Art in New York see on view in the American Wing. – When the house was built Tiffany used at least three different versions of daffodil column capitals on the mansion’s south façade, including a single mold, all-concrete version, and two more-developed glass and concrete versions. The use of yellow glass in these two variants yielded a richer and more natural appearance through its contrast with the blossom’s green concrete stems. – A decade later Tiffany surpassed the light effects and natural qualities of those earlier daffodil capitals when he created the Daffodil Terrace. His final versions were the most complex: he continued to use yellow molded glass to form the blossoms, but upgraded to a 12-part mold to form each petal and stamen individually. He then finished each piece in enamel of various colors so that unlike in the previous versions each blossom was unique. In addition, he varied the location of the blossoms on the capital further to individualize them. • #morsemuseum #louiscomforttiffany #tiffany #daffodils #americanart #decorativeart #castglass #columns #naturalism #artnouveau #glassart #tiffanystudios

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American Female Pottery Artists

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#✊ #🎨 Examples by female pottery artists of the Arts and Crafts period, 1896-1930. – Many women sought opportunities as pottery decorators during the Arts and Crafts movement, where artistic skill offered them the possibility of meaningful work and economic stability in a late- and post-Victorian society. In most cases the pottery houses were male-owned, although there were exceptions: famous Rookwood Pottery (1884-1921) was founded by china painter Maria Longworth Nichols in Cincinnati, Ohio. – While examples like Rookwood exist, most of the artistic contributions females made during this era remain under-recognized. At the time, most paid work was considered debasing for women and there were few professions that were considered socially acceptable. The Arts and Crafts movement’s orientation towards decorative and handcrafted (versus industrialized) goods placed emphasis on skills that were widely considered feminine, opening the door for participation by women workers. – In spite of their growing presence in the arts world, instead of being considered talented creators themselves, women were still primarily utilized as executants of the designs created by and credited to men. We see direct examples of this situation in the pottery shown above: the majority of these pieces can only be described by museum curators as decorated by women. – Bowl, earthenware with leaf motif. Grueby Faience Co., executed by Florence S. Liley. Boston, ca 1898-1900. – Vase, earthenware with chrysanthemums. Paul Revere Pottery of the Saturday Evening Girls, executed by Ida Goldstein. Massachusetts, ca 1911-1912. – Vase, earthenware with tulip. Rookwood Pottery, decorated by Harriet E. Wilcox. Cincinnati, 1905. – Vases, earthenware with forest silhouettes. Rookwood Pottery, decorated by Sara Sax. Cincinnati, 1910 & 1911. – Vase, earthenware with grape motif. Marblehead Pottery, designed by Arthur Irwin Hennessy, executed by Sarah Tutt. Massachusetts, ca 1908-1918.

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