Gary Jackson: Fire When Ready Pottery
Mosaic glass, 1st century B.C.E./C.E. H. (max) 3.5 cm. Beautifully colored, intricately detailed inlays of mosaic glass decorated the furnishings and walls of palaces and public buildings in late Ptolemaic Egypt and in Imperial Rome. These are not to be confused with floor or wall mosaics in which various stone tesserae, each of a single color, were set into plaster to form a design. Mosaic glass was a medium unto itself in which long rods of glass, each a different color, were bundled together so that they formed a pattern visible on the end and in cross-section. They were then heated till they fused, and when cool, were sliced, each slice containing the image desired. The technique is thought to have been invented in Egypt because the subjects are often Egyptian in nature, and many examples have been excavated there. Mosaic glass's popularity around Rome suggests that workshops were established there as well.1 A: Rectangular plaque with frieze of hieroglyphic signs: ankhs (the hieroglyph for "life," Gardiner S34) alternating with a pair of addorsed was-scepters (the hieroglyph for royal authority, Gardiner S40); in the interstices is an undetermined sign, possibly the ideogram for "sunshine" (Gardiner N8).2 This series of signs is repeated twice and the ankh appears once more. A more complex example was found by Sir Flinders Petrie at Dendera in Upper Egypt and is now in the British Museum, London.3 Similar to the latter is an example in Corning, New York,4 and another in the Freer Gallery of Art, Washington, D.C.5 Other inlays with was and ankh are in the British Museum,6 in the former Kofler-Truniger7 and Per-neb collections.8 B: Square plaque with ankh flanked by was-scepters.9 C: Square plaque with wedjat-eye or eye of Horus, the falcon god. The eye of Horus was a general good-luck amulet and also warded off the evil eye. Furthermore, when turned left, it symbolized the moon; when turned right, the sun. A mosaic slice could have been turned either way. Various parts of the eye were also used as fractional symbols. An example of similar design but different color was found by Petrie at Dendera and is in the British Museum.10 Three eye plaques are in Corning,11 one in Toledo,12 and several examples of various designs were in the Kofler-Truniger collection.13 D: Rectangular plaque with striding Apis bull.14 An exact duplicate, perhaps from the same rod, is in Corning,15 and another is in the Freer Gallery,16 both said to have come from Egypt. An Apis bull within a complex border was in the Kofler-Truniger collection.17 E: Rectangular fragment with geometric border, a vertical line flanked by single rows of tiny circles, perhaps an abstracted form of a cobra's body.18 A less complete version was in the Kofler-Truniger collection.19 F: Two-part mask of a maenad, female companion of Dionysos, identified by her grape-leaf crown. An identical inlay has been in two London sales.20 Others are in Corning,21 Toledo,22 and another formerly Kofler-Truniger.23 G: Framed New Comedy theater mask, identified as such by the gaping down-turned mouth and the fact that it lacks the satyr's or silen's grape-leaf crown. A near duplicate without frame was in a London sale.24 A less similar comedy mask is in the British Museum.25 Two others (called silenus and satyr) are in Corning,26 and two others formerly Kofler-Truniger.27 H: Square plaque with mask of Hathor, an Egyptian mother goddess, identified by her long tresses with single curl at bottom. Other Hathor plaques, not close in style, are in Corning.28 I: Five small square plaques with frontal human faces, perhaps Hathor,29 and two rectangular plaques with the traditional Egyptian design representing a palace (serekh) facade.30 J: Spherical bead with mask and checkerboard pattern. A spherical bead with mask mounted in gold is in the Kestner-Museum Hannover.31 Several others are strung together in the former Kofler-Truniger collection.32 APK 1. For discussions on the origin and uses of mosaic glass, see Harden 1987, pp. 16, 31-33; Goldstein 1979, pp. 40-41. 2. Gardiner 1966, p. 486 (N8), p. 508 (S34), p. 509 (S40). 3. Harden et al. 1968, p. 26, no. 23 (E. 64224); Cooney 1974, p. 111, no. 1143, pl. IV. 4. Goldstein 1979, p. 228, no. 664. 5. Ettinghausen 1962, p. 20, fig. 55, pl. opp. p. 18. 6. Cooney 1974, p. 131, no. 1628, p. 132, no. 1638, p. 140, nos. 1723-26. 7. Christie's 1985, pp. 120-21, no. 227 (second from left), pp. 122-25, nos. 239m, 241m, pp. 128-29, nos. 245, 246h. 8. Christie's 1992, p. 18, no. 25. 9. See references for item A. 10. Harden et al. 1968, p. 26, no. 24; Cooney 1974, p. 112, no. 1149, pl. IV. 11. Goldstein 1979, pp. 227-28, nos. 661-63. 12. Grose 1989, p. 362, no. 630. 13. Christie's 1985, pp. 124-25, no. 241 d, pp. 128-29, nos. 246 (several examples). 14. Published: Christie's 1992, p. 17, no. 23. 15. Goldstein 1979, pp. 235-36, no. 684, there shown facing the opposite direction. See this reference for additional parallels. Three slices of Apis plaques are in the same collection: ibid., p. 235, no. 683. 16. Ettinghausen 1962, p. 18, fig. 53, pl. opp. p. 18. 17. Christie's 1985, p. 132, no. 251. 18. See cobra bar in Goldstein 1979, p. 231, no. 672. 19. Christie's 1985, pp. 120-21, no. 227 (third from left). 20. Christie's 1992, p. 13, no. 14; Christie's 1997, p. 26, no. 46. 21. Goldstein 1979, pp. 238-39, nos. 691-93. 22. Grose 1989, p. 362, no. 627. 23. Christie's 1985, p. 131, no. 250c. 24. Christie's 1992, p. 12, no. 11. 25. Harden et al. 1968, p. 26, no. 22; Cooney 1974, p. 140, no. 1682, pl. V. 26. Goldstein 1979, pp. 237-38, nos. 688-90. 27. Christie's 1985, p. 130, no. 249 (two in center). 28. Goldstein 1979, p. 236, nos. 686-87. 29. See references for item H. 30. Cooney 1974, p. 112, no. 1147, pl. IV. 31. Liepmann 1982, p. 125, no. 164, back cover. 32. Christie's 1985, p. 133, no. 252. Text and image from the website of the Miho Museum.
Archive | Mark Kennedy
Enter the reflective world of glass mosaic. EB Studio produces stunning and vibrant mosaic tile and art, utilizing fine art sensibility to illuminate the transparent glass with color, rhythm and texture.
Inspirée par le symbole traditionnel des totems, Nathalie Chaulaic a puisé son inspiration dans la nature pour la série Totems.
Playing with beads and jewelry.
#walldecorationideas #stonepicture #easyart #stonemosaics #artstones #art #walldecorations #mosaicart #mosaicwallart #unique #artstyle #stones #mosaic #diymosaic
— Mosaics for sale. Please contact me for more information about any of the mosaics you see here.
Engelen bestaan Galerie de Lindt Oisterwijk
mosaic art flowers
carolyn machado, artist / mosaics portfolio
mandalas, mandala, mandala em mosaico, mandala na decoracao
View auction details, art exhibitions and online catalogues; bid, buy and collect contemporary, impressionist or modern art, old masters, jewellery, wine, watches, prints, rugs and books at sotheby's auction house
Stephen Wright is an artist who has turned his East Dulwich semi into a shrine for the unloved, forgotten and discarded.
Lasst Euch verzaubern von diesem atemberaubenden, farbenreichen und vielseitig kunstvollen Sinnesgenuss in Garavicchio-Capalbio GR in der Toskana zu einer entspannten Musikuntermalung und einem ähnlichen Vogelgesang dazu, den wir auch vor Ort genießen durften. Ich wünsche allen Farbenfreunden ganz viel Freude an meinen Bildern, die mir unglaublich viel bedeuten, weil ich mit ja mit dem Besuch…
Neat!
Assemblage was my first art love and it's an enduring affair. I enjoy the hunt for the perfect object and the fulfillment of the story I can tell with one of these pieces. More literal,...
