_117, 1/14/05, 3:38 PM, 8C, 3056x4330 (574+460), 62%, bent 6 stops, 1/40 s, R73.3, G59.0, B73.5
Wabi-sabi is the embrace of the incomplete. The Struttura – or “torn” in Italian – embodies this Japanese aesthetic philosophy in the artist’s handmade sculpting and intricate textural details. Reminiscent of worn cloth, the Struttura Textured Ceramic Vase is a study on the weathered beauty and moving curvature of the material. A one-of-a-kind form, its high-fire porcelain make and ornamental design is to be treasured by its owner – for all its intentional imperfections.
The MADE section of the Architectural Digest Design Show 2019 stole the show, celebrating new works from emerging talent and established designers alike.
Identifier: handbookoforname1900meye Title: Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use Year: 1900 (1900s) Authors: Meyer, Franz Sales, 1849- Subjects: Decoration and ornament Art objects Publisher: New York, B. Hessling Contributing Library: Wellesley College Library Digitizing Sponsor: Wellesley College Library View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: The Circular Panel. Plate 158.17* ^60 ENCLOSED ORNAMENT. Text Appearing After Image: Plate 159. The Circul Panel. ENCLOSED OENAMENT. 261 Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
A selection from the 100 plates featured in the book Examples of Chinese ornament selected from objects in the South Kensington museum and other collections (1867) by Owen Jones.
- A bespoke service available to all deVOL customers Hand-painted cupboards is something we have been wanting to offer our customers for a long...
Deze houten loungeset voor in de tuin heeft een gelat ontwerp. De set is een geweldige aanvulling op je tuin of terras, voor een gezellig samenzijn met je familie of vrienden. Massief grenenhout: massief grenenhout is een prachtig, natuurlijk materiaal. Grenenhout heeft rechte nerven en de noesten geven het een kenmerkende, rustieke uitstraling. Comfortabele zitervaring: de rugleuning geeft de loungeset extra zitcomfort. Modulair ontwerp: de loungeset is flexibel en gemakkelijk te verplaatsen.Je kunt hem combineren met andere verkrijgbare modulaire segmenten om je eigen persoonlijke loungeset samen te stellen! Goed om te weten: De kussens zijn niet inbegrepen. Om de levensduur van je tuinmeubelen te verlengen, raden wij je aan om de meubelen met een waterbestendige hoes af te dekken. Kleur: honingbruin Materiaal: massief grenenhout Materiaal lattenbodem: multiplex Afmetingen hoekbank: 63,5 x 63,5 x 60 cm (L x B x H) Afmetingen middenbank: 57,5 x 63,5 x 60 cm (L x B x H) Afmetingen voetenbank/salontafel: 57,5 x 57,5 x 30 cm (L x B x H) Draagvermogen (per zitplek): 110 kg Montage vereist: ja Levering bevat: 1 x hoekbank 2 x middenbank 3 x voetensteun/salontafel
Thierry Lechanteur è uno dei pionieri nell'uso dell'Intelligenza Artificiale in Belgio e nella fotografia, creando immagini che trascendono i limiti..
Description from title page
The Bastone Collection consists of a cabinet and sideboard designed by master cabinet maker and designer Antrei Hartikainen for Poiat.
M.A. and J. van Nieukerken. Tegels damestoilet eerste verdieping Bataafsche Petroleum Maatschappij, 1916. Collectie NAi, NIEU 270 Ondanks de opkomst van moderne stromingen als het functionalisme, bleven de gebroeders van Nieukerken stug vasthouden aan hun traditionele, ambachtelijke en historiserende architectuur. M.A. and J. van Nieukerken. Tiles for ladies room in the Bataafsche Petroleum Maatschappij, The Hague, 1916. NAI Collection, NIEU 270 Despite the emergence of modern movements such as Functionalism, the Van Nieukerken brothers stuck to their traditional, artisanal and historicising style of architecture.
Tokyo-based architect Sou Fujimoto has been selected as the first prize winner for the Taiwan Tower International Competition. The winning proposal’s...
Emotion and restraint weave through Andrea Cochran's well-edited landscapes—a look at some of the landscapes that she has designed, as well as our exclusive (and extensive) Q&A with Cochran.
That's where this article comes in - I've compiled a list of the 30 best bathroom tile ideas to inspire you and help you make the right choice for your space.
Miscellaneous nineteenth and twentieth century illustrated and photographic postcards, showing architectural details and scenes. Mostly from Great Britain and...
Round and round With the round shape and asymmetrical placement of the seams, CUT is a uniquely designed pouf that works perfectly as practical seating on its own or as a part of a larger group of furniture. The round shape makes it versatile and easy to place anywhere, be it in the middle of the room, in corners or against a wall. The ornamental seams are the result of a creative approach to a practical problem: Getting the cover to fit the round shape perfectly. POUF: L 84 D 84 H 47 SH 47 cm
De Japanse Wabi-sabi-ontwerpen hebben de afgelopen jaren de wereld stormenderhand veroverd, vooral in Europa, omdat hun eenvoudige afwerkingen perfect zijn voor Scandinavische interieurs in lichte tinten. Hoewel het Japanse ontwerp eenvoudig is, vergeet het zijn ontwerpgevoel niet. De Japanse ontwerpen die je ziet zijn dus altijd artistieke ornamenten. Hetzelfde geldt voor deze Wabi-Sabi Bells Speckled hanglamp. De onlogische vorm en bijzondere materialen vormen deze ietwat postmoderne creatie. Het lijkt op een bel. Zonder opvallende afwerkingen kan de grijze of witte kleur de textuur op het oppervlak beter benadrukken, waardoor de textuur beter tot zijn recht komt. Je zou het kunnen zien als een kroonluchter van cement, maar deze is gemaakt van lichtgewicht hars en polystyreen, en zelfs een groot formaat zal niet erg zwaar zijn. U hoeft zich dus geen zorgen te maken over eventuele veiligheidsproblemen die aan het plafond hangen. De lamp geeft je vrijheid in alle eigenschappen. Kies het materiaal, de maat of zelfs de kleur. In je thuisuniversum is alles wat onmogelijk is mogelijk. Mis deze kans niet. Let op: uw betaling is exclusief douanerechten, lokale belastingen of andere importkosten. Als u vragen heeft over onze producten, neem dan contact met ons op en wij nemen binnen 24 uur contact met u op. Productgrootte Afmetingen: Ø 35 cm x H 26 cm / ∅ 13,8″ x H 10,2″ Afmetingen: Ø 45 cm x H 33 cm / ∅ 17,7″ x H 13″ Afmetingen: Ø 60 cm x H 44 cm / ∅ 23,6″ x H 17,3″ Details Materiaal: Hogedichtheidpolyethyleen , Metaal Lichtbron: LED-lamp of Edison-lamp Type lichtbronbasis: E26 of E27 (zoals hieronder weergegeven) Vermogen: maximaal 40 W Spannin AC 110-240V Montage: Plafond Omgevin Binnen Gewicht: 9 kg Fabrieksverzendin gemiddeld 5-10 dagen voorbereidingstijd IP: IP20 Batterij: Nee Bestuurder vereist: Nee Kleur: lichtgrijs , donkergrijs, bruin Proces: Vorm , injectie Besturingsmethode: drukknopschakelaar (niet dimbaar) V: Ondersteunt het dimmen? A: Of het dimmen ondersteunt, hangt af van het type lamp dat u koopt. Als u een dimlamp koopt, krijgt deze lamp een dimfunctie. De standaard meegeleverde lamp ondersteunt dimmen niet. Wij leveren draden van 150 cm / 59″. Kan op aanvraag worden verlengd.
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Title within colored ornamental border
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As you might've realized from our publications on the Facebook group 'What in the $20 wish tattoo machine is this?' or the 'That's It, I'm Inkshaming' group, sadly, subpar tattoos are pretty common. Which makes the good ones even more admirable.
We have 50 favorite wedding graphics and DIYs for you today for invitations, save-the-dates, monograms. cards, gift tags, table numbers, place cards, wishing trees, and signs
This is a large collection of ornamental design elements. The ornaments are not complicated and can be used in many ways.
Foliated ornament in squares.
Digital PDF Book Instant Download. Download it direct to your iPad, tablet or computer for instant reading or printing. Floriated Ornament A series of 31 Rare illustrations 41 Pages of Decorative Designs If you have any interest in floral ornamentation then this is a great book to have in your collection. The original edition of this Rare book was printed in 1849 By AUGUSTUS WELBY PUGIN Architect ****====================================================**** My Personal 100% Guarantee To You If you Buy this Book and after reading it, You feel that You did not get Your Money's worth from it, Message me and I will cancel your purchase and Refund Your Money. And You Can Keep The Book as My Personal Gift To You. ****====================================================**** INTRODUCTION. The present work originated in the following circumstance :—on visiting the studio of Mons. Durlet, the architect of Antwerp cathedral and designer of the new stalls, I was exceedingly struck by the beauty of a capital cast in plaster, hanging amongst a variety of models, which appeared to be a fine work of the thirteenth century. On asking if he would allow me to have a squeeze from it, he readily consented, but at the same time informed me, to my great surprise, that the foliage of which it was composed had been gathered from his garden, and by him cast and adjusted in a geometrical form round a capital composed of pointed mouldings. This gave me an entirely new view of medieval carving ; and, pursuing the subject, I became fully convinced that the finest foliage work in the Gothic buildings were all close approximations to nature, and that their peculiar character was chiefly owing to the manner of their arrangement and disposition. During the same journey I picked up a leaf of dried thistle from a foreign ship unloading at Havre, and I have never seen a more beautiful specimen of what we should usually term Gothic foliage : the extremities of the leaves turned over so as to produce the alternate interior and exterior fibres, exactly as they are worked in carved pannels of the fifteenth century, or depicted in illuminated borders. The more carefully I examined the productions of the medieval artists, in glass painting, decorative sculpture, or metal work, the more fully I was convinced of their close adherence to natural forms. At the beginning of this work I have introduced a plate of glass remains, taken from antient examples in the Kentish churches ; and also a variety of painted enrichments from various churches in Norfolk and Suffolk, which will fully justify this assertion. It is absurd, therefore, to talk of Gothic foliage. The foliage is natural, and it is the adaptation and disposition of it which stamps the style. The great difference between antient and modern artists in their adaptation of nature for decorative purposes, is as follows. The former disposed the leaves and flowers of which their design was composed into geometrical forms and figures, carefully arranging the stems and component parts so as to fill up the space they were intended to enrich ; and they were represented in such a manner as not to destroy the consistency of the peculiar feature or object they were employed to decorate, by merely imitative rotundity or shadow ; for instance, a pannel, which by its very construction is flat, would be ornamented by leaves or flowers drawn out or extended, so as to display their geometrical forms on a flat surface. While, on the other hand, a modern painter would endeavour to give a fictitious idea of relief, as if bunches of flowers were laid on, and, by dint of shadow and foreshortening;, an appearance of cavity or projection would be produced on a feature which architectural consistency would require to be treated as a plane ; and instead of a well-defined, clear, and beautiful enrichment, in harmony with the construction of the part, an irregular and confused effect is produced, at utter variance with the main design. The present work has been produced for the dissemination of these principles, and to assist in removing the reproach of mere servile imitation, so often cast on those who work after the antient manner. Nature supplied the medieval artists with all their forms and ideas ; the same inexhaustible source is open to us : and if we go to the fountain head, we shall produce a multitude of beautiful designs treated in the same spirit as the old, but new in form. We have the advantage of many important botanical discoveries which were unknown to our ancestors ; and surely it is in accordance with the true principles of art, to avail ourselves of all that is beautiful for the composition of our designs. I trust, therefore, that this work may be the means of leading designers back to first principles ; and that as by repeated copying the spirit of the original work is liable to be lost, so in decoration the constant reproduction of old patterns, without reference to the natural type for which they were composed, leads to debased forms and spiritless outline, and in the end to a mere caricature of a beautiful original. It is impossible to improve on the works of God; and the natural outlines of leaves, flowers, &c. must be more perfect and beautiful than any invention of man. As I have stated above, the great skill of the antient artists was in the adaptation and disposition of their forms. The present effort can only be considered as a mere sketch of what can be produced on those principles. As the patterns are principally intended for stencilling, those colours most in use have been selected ; but in many cases the natural colour as well as form would greatly improve the effect. As regards the nomenclature of the plants, &c. selected, I have taken it from a very curious and beautiful old botanical work, entitled, "Tabernae montanus eicones Plantarum," printed at Francfort in 1590. If there are any errors or singularities in any of the names engraved on the plates, they are taken from the work in question, as I am unfortunately not sufficiently learned in botany to distinguish any mistake in these respects. A. WELBY PUGIN St. Augustine's, Ramsgate, Feast of St. Michael, 1849. LIST OF PLATES. 1.—Frontispiece. 2.— Title Page. 3.— Glass Quarrels for Old Kentish Churches. 4.—Examples of Ancient Floriated Ornament. 5.—1. Oxys floribus enteis; 2. Cyperus dulcis Theophrasti; 3. Absinthium marinum; 4. Acarna Theophrasti Anguillarse; 5. Iva muschata. 6.—1. Caryophyllus montanus; 2. Lychnis sylvestris purpurea; 3. Camphorata Monspelica; 4; Viola Martia purpurea; 5. Lychnis arvensis. 7.—1. Pyromelo ; 2. Colocynthus mas; 3. Finnaria latifolia major; 4. Thlaspi Pannonicum; 5. Primula veris. 8.—1. Spartium Hispaniarum; 2. Cytisus cornutus; 3. Anemone major alba; 4. Genista; 5. Cytisus adulterinus. 9.—1. Cucumis Turcicus; 2. Ornithogalum luteum; 3. Absinthium album; 4. Narcissus polyanthus Matthioli; 5. Leucotum violaceum. 10.—1. Sonchus sylvaticus; 2. Reseda latifolia; 3. Anemones Chalcedonica major; 4. Ruta tenuifolia; 5. Scabiosa major. 11.—1. Scabiosa major Hispanica; 2. Filipendula montana; 3. Artemisia Dioscoridis; 4. Fragrum trifolium fragiferum; 5. Eufrasia ccerulea. 12.—1. Geranium Rupertianum; 2. Caryophyllus Carthusianorum; 3. Geranium arvense; 4. Lychnis plumaria; 5. Jacea alba. 13.—1. Viola Martia arborescens lutea; 2. Viola Martia purpurea multiplex; 3. Fumaria bulbosa; 4. Viola petrae lutea multiplex; 5. Ocymastrum rubrum. 14.—1 . Ranunculus sylvestris minor; 2. Viola canina; 3. Absinthium ponticum Galeni; 4. Cardamine trifolia; 5. Viola hyemalis. 15.—1. Phalangium Narbonense; 2. Hieracium minus Dioscorides; 3. Thalictrum Herba Sophia latifolia; 4. Chondrilla alba; 5. Sonchus lenis angustifolia. 16.—1. Rosa Englenteria; 2. Rosa muscata alba; 3. Libanotis; 4. Cistus Ledon myrtifolium; 5. Herba Benedicta. 17.—1. Sonchus asper; 2. Ranunculus dulcis; 3. Artemisia tenuifolia; 4. Frumentum anyleum; 5. Phalangium non ramosum. 18.—1. Auricula ursi; 2. Origanum Heracleoticum; 3. Aquifolium; 4. Telephium purpureum; 5. Heliotropium minus. 19.—1. Chamasitea; 2. Iva muschata; 3. Brassica Anglica; 4. Lychnis plumaria; 5. Lychnis sylvestris. 20.—1. Calamintha amensis; 2. Thlaspi minus clypeotum; 3. Abrotanum humile; 4. Vulnaria; 5. Cramen aquaticum. 21.—1. Maiorana sive Amaricus major; 2. Viola lunaris; 3. Flos Aphricanus minor flore simplici; 4. Nasturtium petrseum; 5. Tormentilla consolida rubra. 22.—1. Ocymastrum rubrum; 2. Lychnis sylvestris; 3. Absinthium montanum seu Romanum 4. Vaccaria; 5. Flos cuculi. 23.—1 . Cramen vulgare; 2. Filipendula Saxifraga rubra; 3. Buphtalmum; 4. Lychnis plumaria; 5. Herba articularis. 24.—1. Lilium Saracenicum; 2. Persoonia flexifolia; 3. Fuchsia gracilis; 4. Sytyrium triphyllon 5. Lilium album; 6. Triorchis major mas; 7. Ribes triflorum; 8. Carduus lanceolatus; 9. Bryngium Alpinum cceruleum. 25.—1. Fumaria bulbosa; 2. Fumaria bulbosa; 3. Fumaria bulbosa; 4. Geranium violaceum; 5. Curcubita largenaria major. 26.—1. Dipsacus; 2. Carduus lanceolatus; 3. Melanthium agreste Nigella arvensis; 4. Periclimenum; 5. Tithymalus minimus. 27.—1. Hex coccifera; 2. Fumaria latifolia minor; 3. Quinquefolium Theophrasti; 4. Hypericum Alexandrinum; 5. Jasminium coeruleum. 28.—1. Trifolium bituminosum; 2. Trifolium cordatum; 3. Cumerium sylvestre; 4. Oxys floribus luteis 5. Fragum trifolium. 29.—1. Alsine hedezacea; 2. Plantago aquatica minor; 3. Malva arborea; 4. Tithymalus pazalius Matholi; 5. Arcania Theophrasti; 6. Chrysosplenon; 7. Saxifraga alba. 30.—1. Holostium umbellatum; 2. Herba benedicta; 3. Lysimachia minor; 4. Convolvus coeruleus 5. Panaces costinum; 6. Soldanella; 7. Hypericum Alexandrinum; 8. Volubilis major. 31.—1. Lilium marinum album; 2. Narcissus juncifolius; 3. Narcissus medioluteus; 4. Cytisus aduterinus; 5. Pseudonarcissus luteus; 6. Ledum Alpinum; 7. Vitis idaea IV.; 8. Narcissus medioluteus; 9. Cytysus I.; 10. Tithymalus amygdaloides. ====================================== This s
Identifier: floriatedornamen00pugi Title: Floriated ornament: a series of thirty-one designs Year: 1849 (1840s) Authors: Pugin, Augustus Welby Northmore, 1812-1852 Subjects: Decoration and ornament Publisher: London, H. G. Bohn Contributing Library: Sterling and Francine Clark Art Institute Library Digitizing Sponsor: Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: 5. f&gc^ni* ftrt>eTvj&ii5 ft3voCa JtWtta. u$ mas. 3. {ftmtaria tattfoCia major. V. TKjtas^pi ^Pannouicum 5, IprimuCa vttip. Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
Consists of illustrations with descriptive titles in French
Identifier: floriatedornamen00pugi Title: Floriated ornament: a series of thirty-one designs Year: 1849 (1840s) Authors: Pugin, Augustus Welby Northmore, 1812-1852 Subjects: Decoration and ornament Publisher: London, H. G. Bohn Contributing Library: Sterling and Francine Clark Art Institute Library Digitizing Sponsor: Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: H. C Tvfagurre chramolith 10. ^BCig^ut^ c^iwci?. \ Text Appearing After Image: H C Ma^inre chromoli til riTX 1 ^Dx)>e 6Cflri6ii8 ivXm. 2. yer»e >u£cie Jb(jeq)^ta»ti,. 5. 3U«vnt()wm maxinvun. 4. IrUaxtia iL$eov&ra»ti JFtttquvft&ra. 5. 3ua mnoc&ata. Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
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