Home-Improvement:Interior-Design-and-Decorating Articles

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Tuesday, May 26, 2009

The Battle Of Fulford Tapestry

The Battle Of Fulford Tapestry

THE team creating a huge tapestry showcasing an ancient battle near York is looking for fellow embroiderers to join them in “sewing a piece of history”.

The creation of the 15-feet tapestry is well underway and the first three feet, depicting the arrival at Scarborough of Harald Hardrada, king of Norway, is now complete.

The project, which has been funded with part of a £24,000 lottery grant awarded to the Fulford Battlefield Society, began in 2005. After a slow start due to a lack of volunteers, it could now be finished by the end of the year.

One of the organisers, Mary Ann Dearlove, 63, said: “We are really motoring on with it now.

“I am on a bit of a recruitment drive at the moment because we need more people who can come down and work on it. The first three feet are done and we are working on the next section which depicts the arrival of both sides at Fulford. Once you start working on it, time absolutely flies – it’s so absorbing,” she added.

“It’s not complicated at all – it’s a laid stitch which is fairly basic.”

The embroiderers meet at Barley Hall in Coffee Yard, and will be there on Wednesday, from 10am to 2pm, if anyone is interested in adding to the piece.

Taken From ThePress.co.uk

Tuesday, April 28, 2009

Toyota Grants Will Pay For A TAPESTRY Of Research

Toyota Grants Will Pay For A TAPESTRY Of Research

TORRANCE, Calif. - Two Maui teachers each have been honored with a $10,000 grant for excellence and innovation in science education to be used for projects in their classrooms.

The Toyota TAPESTRY awards to Kathleen Ireland and Dan Kuhar are sponsored by Toyota Motor Sales USA Inc. and administered by the National Science Teachers Association.

Ireland, a biology teacher at Seabury Hall, will lead her students in a project to harvest and press oils from native Hawaiian plant seeds. The oil will then be tested for energy production and used to run a student-designed motor.

The Seabury Hall students also will work in conjunction with University of Hawaii at Manoa students to uncover the optimal growing environment for a new type of oil-producing plant.

Kuhar, a science and health teacher at the Kihei Charter Middle School, will use his grant money to create a program for students to study the statewide spread of invasive algae. Kuhar's class has partnered with the National Oceanic and Atmospheric Administration to determine which species of algae cause the most problems and which water conditions cause the biggest algae blooms.

Toyota TAPESTRY is the largest annual K-12 science teacher grant program in the country, according to the company's news release. Award-winning projects are selected from three critical areas for youth: environmental science, physical science and science applications that promote literacy.

Fifty grants of up to $10,000 are awarded each year, along with a minimum of 20 grants of as much as $2,500 each. More than $8.5 million has been awarded to 1,064 teams of teachers throughout the program's 19-year history.

Kuhar said he and others at Kihei Charter School are excited about embarking on the algae project.

"Students will be empowered to be stewards of their community, aina and kai," Kuhar wrote in an e-mail. "Students will also benefit from the positive and healthy impacts of spending time outdoors, observing the natural world, and cooperative learning," he added.

The Kihei Charter project will involve approximately 160 students in grades 6 to 8 working in partnership with community members, scientists and partners at NOAA. The program emphasizes community-based education and a classroom-without-walls concept of hands-on work that takes place in the field.

At Seabury Hall, Ireland will start the first segment of her project with approximately 70 freshmen. They will locate kukui nut trees, analyze the microenvironments of these trees and harvest the nuts. They will then work with student mentors in Seabury's engineering class to press oil from the collected nuts.

The project moves forward with sophomores adding findings; then seniors in an engineering class will use the oil to power their biofuel motor. They will record any observations they find in the use of the oil.

Ireland expects some 170 students will be involved in the project, and will present their findings to Seabury's entire student body.

"I am very interested in providing authentic learning experiences in my classrooms as well as stimulating interest in 'real life' science," Ireland said in an e-mail. "The take-home message from this project is that Seabury Hall students will be working in a large cohesive group to identify possible solutions to our dwindling fuel issues.

They will learn the importance of careful and clear data collection, as well as discovering the challenges of working on real world problems in a group setting.

"With any luck, Seabury Hall students will be able to produce a viable alternative fuel, complete with some efficiency testing!"

* Claudine San Nicolas can be reached at claudine@mauinews.com.

Taken From MauiNews.com

Saturday, April 25, 2009

Cumbrian Church’s History Sewn Up In New Tapestries

Cumbrian Church’s History Sewn Up In New Tapestries

Friends of a 400-year-old Cumbrian church have history all sewn up with tapestries to chart the building’s journey through the ages.

Longtown’s Arthuret Church – also known as St Michael and All Angels Church – is one of the oldest in the Diocese of Carlisle.

The tapestries are the latest in a year-long programme of 400th anniversary celebration events and were mounted on the church walls on Saturday when a special blessing was carried out.

Tapestry co-ordinator Christine Batey, of Oakshaw Hill, Longtown, said: “There are four tapestries now hanging on the wall of the church which have been made by about 40 friends of the church and other local people.

“About 40 people were involved and it has taken about 18 months to complete so it was quite a task to co-ordinate them all.”

Mrs Batey added: “I am really pleased with the way it has turned out, it has surpassed my expectations. The tapestries will hang in the church for years to come and I hope they will be admired by my grandchildren when they grow up.”

The Church of England church is led by The Rev Russell Tague and the Most Reverend Dr Idris Jones Primus.

It is now part of the benefice of three churches, St Michael and all Angels, Longtown; St Andrew, Kirkandrews-on-Esk; and St Nicholas, Nicholforest.

Between them they cover an area from the Scottish border to north of Carlisle.

The building, which dates back to 1609, has a long and important history which started with James VI of Scotland and the unruly Border Reivers.

The people of Longtown are marking the anniversary with a long programme of events, which started last November.

A flower show is planned for the summer. The theme will be the thistle and the rose to mark the ancient cross border connections of the church.

Taken From Cumberland-News.co.uk

Sunday, April 12, 2009

Home Style: Decorating With Plates

Home Style: Decorating With Plates

I was doing some window-shopping during a rare break from the store during a particularly busy holiday retail season when I spotted them: the set of fish plates that spoke to me.

I decided on the spot that if these antique Lamoge china plates, each decorated with the picture of a fish, were still there in January, I would treat myself to them as a reward for surviving another crazy holiday season.

Years later, I'm still enjoying my fish plates and I have used them time and again in my decorating, and always with dramatic results. They have hung on the thick molding between the French windows in my dining room. I've showcased them on my walls, below wall pockets, above wall brackets and on either side of a lovely china platter.

Plates are masterpieces that look smashing when mixed in with framed art.

But one of my favorite ways to display my fish plates was to prop them on easels on my mantel. However, this plan backfired when our cat sent one tumbling when she paraded back and forth across the mantel.

I think of all the plates in my cupboard as lovely pieces of art, and I display them all over my home. So does Dillon, one of the designers at Nell Hill's. Give Dillon a hammer and nails, and he will transform a stack of dishes into a thing of beauty. So I asked Dillon to join me in sharing a few tips for decorating with plates in your own home.

MIX PLATES WITH ARTWORK: Whether they sport a design -- like a scene from an English village, a flower, an animal, are embellished with a unique geometric pattern or gold trim -- or are simply creamy white, your dishes are masterpieces in their own right. So hang them on your walls, either in a grouping by themselves or mixed in with other pieces of framed art.

The other day, Dillon created a show-stealing display with a tall mirror, two sconces and a stack of plates. He flanked the mirror with the sconces. Then he hung a dinner plate to the side and bottom of each sconce, placing a dessert plate in between them. He put an oval platter above the mirror, with two smaller plates on either side. The effect was stunning.

REPEAT A COMMON THREAD: Whether it's a wall covered in blue-and-white transfer ware or a small column of plates painted with birds, when grouping plates, make sure they share a similar color scheme, theme or pattern so they look harmonious. While variety is the spice of life, when you group together too many colors and patterns, you end up with a look that's chaotic and disorganized.

EXPERIMENT WITH SYMMETRY AND ASYMMETRY: Dillon says symmetrical arrangements are the easiest to pull off: Simply create a design you love on one side of a piece of art, a doorway or on your mantel, then repeat it on the other side.

But don't just play it safe: Be willing to experiment with asymmetrical arrangements. The key to pulling together an asymmetrical look that's exciting, unexpected and visually appealing is to ensure it is balanced.

USE PLATES IN EVERY ROOM: Instead of confining plates to the kitchen, use them as art all over your home. Put a set of botanical plates in an unexpected spot, like above the doorway in your living room. Use a collection of similar plates to create a chair rail in your dining room. Cover your study wall with a tapestry of transfer-ware pieces. Surround your powder-room mirror with hand-painted dessert plates. Find some beautiful platters to display above the headboard in your bedroom. I've even hung plates on my front door.

(Mary Carol Garrity is the proprietor of three successful home-furnishings stores and is the author of several best-selling books on home decorating. Write her at nellhills(at)mail.lvnworth.com. For more stories, visit scrippsnews.com.)

Taken From CourierPress.com

Saturday, April 4, 2009

Hand-Stitched Tapestry That Weaves Tales Of Medieval Life Goes On Display In New Ross

Hand-Stitched Tapestry That Weaves Tales Of Medieval Life Goes On Display In New Ross

THE STATE’s newest tourist attraction was unveiled yesterday when the Ross Tapestry went on public display in the Co Wexford port town of New Ross.

Organisers of the permanent exhibition predict that the series of elaborate, hand-stitched tapestries depicting scenes of Irish medieval life will attract 60,000 visitors in year one.

Work on Europe’s biggest embroidery project began in 1998. For the past decade, more than 100 volunteers, from Co Wexford and neighbouring counties, have created 15 large, 6ft by 4ft, needlework panels which record the Anglo-Norman invasion of Ireland and its aftermath.

The exquisitely coloured, intricate tapestries include Arrogant Trespass: The Normans Landing at Bannow – a reference to the nearby strand where the invasion by 30 knights and 360 soldiers in 1169 led to 800 years of British rule in Ireland.

The Ross Tapestry is based on original paintings by Countess Ann Griffin Bernstorff, the Limerick-born artist who married a Danish aristocrat and settled on a farm in Co Wexford.

Yesterday, she praised volunteers who had devoted “thousands of hours and millions of stitches” and said, “we turned on a switch in the community and they responded”.

She explained that the original idea for the project had come from a Church of Ireland rector, Paul Mooney, who has since moved to Malaysia.

Project chairman Seán Reidy hailed “a world-class work of art” created by “the best example of volunteerism that Ireland will ever see”.

He thanked patrons, who include financier Dermot Desmond, newspaper magnate Tony O’Reilly and AIB’s Gerry Murtagh, for each making personal contributions of “significant five-figure sums”.

He also revealed that the project has attracted the attention of former US ambassador to Ireland Jean Kennedy-Smith who was “completely blown away by it”. She has asked that at least some of the tapestries be temporarily shipped to Washington in 2011 for celebrations to mark the 50th anniversary of John F Kennedy’s inauguration.

The late president’s great-great-grandfather emigrated from the town and the Kennedy family maintains strong links with New Ross.

Yesterday’s opening was a low-key affair, with pride of place given to the volunteer embroiderers who expressed delight and pride at seeing their work hung permanently for the first time.

Mary Maher, a former secretary who had “stitched for two mornings a week” said it was “a fantastic achievement and brilliant to see on permanent display”.

All the embroiderers were women except John Ronan whose “wife encouraged me to have a go”. He was “uncomfortable in the beginning with all the women” but drew inspiration from his grandfather, “a tailor who had stitched his way into the fabric of the town”. Mr Ronan decided to “do the same” and yesterday said, “I’m so proud.”

Seán Connick, the local Fianna Fáil TD and a director of the project, was given a tour of the exhibition by Countess Bernstorff.

Afterwards, his “heart was thumping with pride” and he said, “This is what the community and the people of Ireland are capable of.”

The permanent exhibition is open to the public, seven days a week, from today at Priory Court, The Quay, New Ross.

A Fáilte Ireland spokesman said the exhibition was “destined to become a must-see attraction in Ireland”.

Taken From IrishTimes.com

Friday, March 27, 2009

Easter Tapestries Return to St. John the Divine

Easter Tapestries Return to St. John the Divine

The Cathedral Church of St. John the Divine has hoisted into place two poignant — and quite beautiful — reminders of the suffering and penance that always precede rebirth in the Christian liturgical calendar.

On Monday, members of the cathedral’s Textile Conservation Laboratory raised two of the 12 Barberini tapestries in St. John’s collection, “The Crucifixion” and “Agony in the Garden,” into the arches of the north and south transept for display during the Easter season.

It is the first time either of these tableaux have been on public view since the devastating fire in 2001 that heavily damaged the north transept and two other Barberini tapestries.

“We’re remembering the agony and the crucifixion first — and, in a way, we’ve had that, too,” said the Very Rev. Dr. James A. Kowalski, dean of the cathedral, which is the seat of the Episcopal Diocese of New York.

“It’s been a long journey until we got to this point.” The cathedral was rededicated last year after seven years of recovery, restoration, conservation and cleaning.

“We’re very lucky to have a treasury of art that can be used as this art was intended,” Dean Kowalski said — that is, to tell stories appropriate to the liturgical season of Lent, which began on Ash Wednesday (Feb. 25 this year) and will end on Holy Saturday (April 11), the day before Easter.

Though the tapestries were made by Giovanni Francesco Romanelli in the mid-1600s, they take their name from Cardinal Barberini, who commissioned them for Pope Urban VIII, his uncle. The pope died just as the set was being finished.

The tapestries were presented to the cathedral in 1891. When “The Crucifixion” was unrolled on Monday, perhaps the most striking sensation was the vividness of the blue in Mary’s robe and the red in John’s.

Details around the borders also popped out, like the bees symbolizing the Barberini family. Marlene Eidelheit, director of the textile laboratory, emphasized that she and her colleagues were as conservative as possible in their intervention, which included cleaning, interstitial weaving, spot patching and overall reinforcement. “We don’t do restoration,” she said. “We make sure it’s healthier and stronger.”

Coincidentally, as the 16-foot-high tapestries were raised into position, James Wetzel, a Juilliard senior who is the cathedral’s current organ scholar, was performing the weekly demonstration of the Aeolian-Skinner great organ.

After he finished Bach’s Fugue in A minor, he played an ethereal — almost elegaic — improvisational piece to accompany the tapestry raising. Acknowledging Lent, he based it on the hymn “40 Days and 40 Nights.”

Taken From NYTimes.com

Saturday, March 21, 2009

Quilt Show Honors State's Anniversary

Quilt Show Honors State's Anniversary

The Milwaukie Center, 5440 S.E. Kellogg Creek Drive, will host its 15th annual quilt show from 9 a.m. to 5 p.m. Friday and 9 a.m. to 4 p.m. Saturday. The exhibit theme is "My Oregon," in honor of the 150th anniversary of statehood.

The Milwaukie Center, 5440 S.E. Kellogg Creek Drive, will host its 15th annual quilt show from 9 a.m. to 5 p.m. Friday and 9 a.m. to 4 p.m. Saturday.

The exhibit theme is "My Oregon," in honor of the 150th anniversary of statehood. Quilts from the community range from vintage hand-quilted to current machine-made quilts. In the past, an average of 100 to 160 quilts have been entered.

A raffle will be held for a "Tapestry Rose Our Way" quilt, created by the center's quilting team, which adapted its own version of the standard Tapestry Rose pattern. Tickets are $1 or six for $5 and are available at the center's gift shop.

On Friday, there will be a suggested $3 donation and on Saturday admission is $3. You may purchase lunch either day. Sponsors are Sellwood Landing, Clackamas Federal Credit Union, Mill End Store and Friends of the Milwaukie Center. For information, call 503-653-8100.

-- Thelma Savage

Taken From OregonLive.com

Monday, March 16, 2009

European Decorative Arts Sales in New York Offer Fresh to the Market Private Collections in April

European Decorative Arts Sales in New York Offer Fresh to the Market Private Collections in April

NEW YORK, NY The month of April at Christie’s New York presents three sales of European Decorative Arts, which will bring fresh to the market works from the 17th century to the modern day, from several private collections and museums.

With a range of price points featured in each sale, collectors will find one-of-a-kind examples of furniture, sculpture, ceramics, tapestries, clocks and decorative works of art varying from the scholarly to the fantastic, and the austere to the ornate.

Important English Furniture, Clocks and Ceramics – April 7

Three estates lead the English Furniture, Clocks and Ceramics sale on April 7 — The Collection of Professor and Mrs. Clifford Ambrose Truesdell, Property from the Estate of Mr. & Mrs. Gordon T. Southam, and The Property of a Private Canadian Collector.

The Collection of Professor and Mrs. Clifford Ambrose Truesdell

Professor and Mrs. Clifford Ambrose Truesdell were a delightfully eccentric couple who shared an appreciation for the classics, music and art. Their diverse collection of Italian, Dutch and Flemish furniture was founded on connoisseurship and their story is one of passion, intellectual stimulation, and a love of beautiful objects. Works from the collection will be offered in the April 7th as well as the April and May sales of European Furniture.

Clifford Ambrose Truesdell III devoted his career to the advancement of rational mechanics, and his professional experience spanned from MIT and the Naval Research Laboratory to Indiana University and Johns Hopkins University.

Together with his wife, the Truesdells were a true “Renaissance couple” in every sense of the term. Their artistic interests ranged from Baroque music and fine silver to European paintings and Italian architecture, and these tastes shone through in the impressive works of art they lived with in their Palladian-style Baltimore home, Il Palazzetto.

The Truesdell English Furniture collection is comprised of 30 lots and is highlighted by a George II mahogany and silk damask four-poster bed, circa 1740 (estimate: $200,000-300,000).

This magnificent state bed was purchased by the Truesdells in the 1960s, shortly after it was removed from Brympton D’Evercy, the beautiful manor house in Somerset, England where the bed had been since the 18th century.

With its damask-covered cornice emblazed with the Fane family crest, the bed is a rare survivor from the early George II period and has been attributed to Giles Grendey, the celebrated London furniture maker.

Other English furniture highlights from the Truesdell collection include a George II giltwood mirror, circa 1735 (estimate: $50,000-80,000); two pairs of George III giltwood open armchairs attributed to John Linnell, circa 1765 (each estimate:

$150,000-250,000); a pair of George II gilt-gesso two-light girandole mirrors, circa 1725 (estimate: $120,000-180,000); and a pair of George II giltwood console tables, circa 1740 (estimate: $100,000-150,000).

Property from the Estate of Mr. & Mrs. Gordon T. Southam, Vancouver, Canada

The marriage of Jean MacMillan to Gordon Southam in 1941 united two of Canada’s top-tier families as well as the forestry and newspaper industries. The Southams enjoyed a life-long romance and an enduring partnership in which they traveled regularly to London and New York on collecting trips.

The Southam Collection is comprised of over 80 works and highlights include a Queen Anne walnut oval stool with floral needlework, whose pair is illustrated in Masterpieces of English Furniture and Clocks, (estimate: $30,000-50,000); a Queen Anne walnut settee, circa 1710 (estimate: $70,000-100,000); and a George I walnut chest-of-drawers, circa 1730 (estimate: $70,000-100,000).

Property of a Private Canadian Collector

A private collection from a Toronto country home consists of 60 works of furniture and paintings, with estimates ranging from $800 to $30,000, and several works offered for no reserve.

Top lots include a George IV mahogany secretaire breakfront bookcase, circa 1825 (estimate: $20,000-30,000), and a pair of George III satinwood, rosewood and marquetry commodes (estimate: $80,000-120,000).

Examples of various owner highlights in the April 7th sale are a George III giltwood side table with scagliola top, attributed to Thomas Chippendale, circa 1770 (estimate: $100,000-150,000), and a George III ormolu-mounted Wedgwood, Derby biscuit porcelain and white marble mantel clock by Vulliamy, the royal clockmaker (estimate: $40,000-60,000), and a George III ormolumounted mahogany commode attributed to Wright and Elwick, circa 1765, supplied to one of Britain’s great country houses, Wentworth Woodhouse (estimate: $30,000-50,000).

European Furniture, Works of Art, Sculpture and Tapestries – April 16

The European Furniture, Works of Art, Sculpture and Tapestries sale on April 16th will feature over 40 works from the Truesdell collection. A leading highlight is a Dutch eglomisé collector’s cabinet on stand (estimate: $40,000-60,000).

The eglomisé panels depict scenes from Roman myths and would open to reveal items of curiosity or objects of vertú. Surprises continue to unfold behind the two central doors which open to display the technical virtuosity of the cabinet-maker.

Its use of mirrors create the illusion of two complete houses whose inlaid facades slide to reveal further secret drawers for the rarest, or most secret of treasures.

Among the other highlights in the European Furniture offered in the Truesdell collection is an Italian silvered wood console, Rome, late 17th/ early 18th century. It appears to grow almost organically from a lushly carved foliate spray and is an early precursor to the natural forms that inspired the Rococo (estimate: $30,000-50,000).

A pair of North Italian giltwood torcheres, circa 1750 (estimate: $20,000-40,000), with their bold scrolling forms illustrate the asymmetry emblematic of this style.

In addition to the Truesdell collection, The European Furniture, Works of Art, Sculpture and Tapestries sale on April 16th offers unique objects such as collector’s cabinets, vivid tapestries, extravagant giltwood from the 18th century, as well as 19th and 20th century examples inspired by many stylistic eras. This diverse array assures there is something for every taste and budget.

The sale features a dozen tapestries, dating from the mid 16th century to the 18th century, which encompass many genres — armorial, mille fleurs, historical and mythological.

A Franco-Flemish millefleurs tapestry (estimate: $40,000-60,000) whose stylized, large scale flowers would be equally at home in both traditional and modern homes while a Flemish mythological game park tapestry, late 16th/ early 17th century, sold to benefit the acquisition funds of Carnegie Museum of Art in Pittsburgh, depicts the god of Music, Orpheus sleeping amongst vividly woven exotic animals (estimate: $30,000-50,000).

Works by the famed French design atelier Jansen and other furniture commissioned by interior decorators are also included in the auction. Among the group is an elegant pair of French ormolu-mounted black lacquer two-tier etageres by Jansen (estimate: $6,000-9,000).

An impressive pair of marble-veneered and ebonized wood bookcases designed by Renzo Mongiardino, circa 1987, were part of the spectacular custom furnishings made for the library in the Park Avenue apartment of the New York financier and philanthropist Peter Jay Sharp (estimate: $25,000-40,000). They are certain to make an equally strong impact with collectors of this highly sought after, legendary designer.

19th Century Furniture, Sculpture, Works of Art and Ceramics – April 21

The 19th Century Furniture, Sculpture, Works of Art and Ceramics sale on April 21st opens with a choice selection of European ceramics and glass, highlighted by a unique pair of Mintons pâte-sur-pâte vases by the master craftsman Louis Solon.

The pair titled 'The Key to Hearts' depicts maidens toying with putti enclosed within heart-shaped cages, (estimate: $150,000-200,000) and relates directly to a similar pair which achieved over $200,000 on the 21st of October 2008.

The Continental porcelain selection features a number of massive vases in both the Sevres and Vienna styles. A monumental Sevres style ivory-ground centerbowl stands over 137.8 cm. high (estimate $100,000 - 150,000); and three pairs of Vienna style vases in the $20,000-50,000 range feature finely painted classical and mythological vignettes.

This group is rounded out by 24 Vienna style sumptuous portrait plates depicting King Ludwig's gallery of Bavarian beauties from the Twinight Collection (estimate: $30,000-50,000).

Two charming studies of hounds on Berlin (K.P.M.) porcelain, dated 1888, immortalize the Prince and Princess of Battenberg’s favorite dogs named Wat and Basco (estimate: $5,000-7,000).

The Princess was Queen Victoria’s beloved youngest daughter Beatrice and by tradition, these plaques were passed by descent to the present owner from a member of the family in service at Windsor Castle.

Other unusual works in the majolica and palissy ware section include: a Mintons fish-form teapot and cover (estimate: $8,000-12,000) and a George Jones cobalt-blue ground garden seat (estimate: $6,000-8,000).

Recently deaccessioned from the Fine Arts Museums of San Francisco and sold to benefit the Acquisition Fund, a magnificent ormolu-mounted black and gilt-lacquered commode (estimate: $70,000-100,000) and its companion sécretaire (estimate: $50,000-70,000) are among the highlights of the afternoon session of Furniture, Sculpture and Works of Art.

These faithful reproductions are after the models by J.H. Riesener commissioned in 1783 by Marie Antoinette for her cabinet intérieur at Saint-Cloud. The originals, now at the Metropolitan Museum of Art, are considered to be the jewel in the crown of Riesener’s oeuvre.

Although the maker of these excellent copies remains a mystery, the quality of craftsmanship, while undoubtedly 19th century, is an homage to Riesener's mastery in the 18th century.

A group of European carved ivory works of art from the estate of J. Irwin and Xenia S. Miller, are led by two grand scale German carved ivory tankards ornately carved with mythological figures (estimate: $30,000-50,000 each).

Three dozen lots from a Mid-Atlantic private collection are offered at no reserve, and include a rare group of four Continental ‘jewelled’ ivory figures, each with a mechanical accoutrement, that exhibit exceptional ingenuity in their decoration and craftsmanship (estimate: $6,000-8,000 each).

Taken From ArtDaily.org

Friday, March 13, 2009

The Bayeux Tapestry, Napoleon and the Nazis

The Bayeux Tapestry, Napoleon and the Nazis

University of Leicester

The Bayeux Tapestry is an 11th century Norman interpretation of the Battle of Hastings in 1066 and one of the many mysteries surrounding it is why this iconic eleventh-century source has been so coveted by modern dictators.

Dr Carola Hicks, a former fellow of Newnham College, Cambridge, lecturer in Art History at Cambridge, and a prolific author of many books on medieval history and art history, will be pondering this question in a public lecture to take place at the University of Leicester on Wednesday 18th March at 6pm.

Dr Hicks will discuss the way in which the story told by the Tapestry was appropriated by later regimes, who sought to reinterpret the past in the light of contemporary political and military goals.

Her research has taken her to the archives of the Nazi regime, including personal letters from Himmler showing that he coveted the Tapestry as a key piece of evidence to link contemporary Nazi ideology with the Viking past (and the conquest of the British Isles).

Napoleon too realised its propaganda value in support of his own military ambitions against the English people.

Dr Joanna Story, Senior Lecturer in Early Medieval History, and co-organiser of the Medieval Research Centres public lecture series commented: “The past is (as any student of history, archaeology or literature knows well) constantly being re-interpreted and reshaped, often to fit modern political or cultural objectives. In her lecture Dr Hicks will show us how one of the most iconic, recognisable pieces of medieval story-telling, was coveted by dictators in the modern era.”

Dr Carola Hicks is an expert in the reception and (re)-interpretation of medieval sources, buildings and objects in later centuries. Two of her most recent books include The Kings Glass (2007 – abridged for Radio 4) and The Bayeux Tapestry: The Life Story of a Masterpiece (2006), which reveals the mystery, secrets and continuing fascination of the 70m tapestry, worked nearly 1000 years ago and still a vibrant example of pictorial storytelling.

Dr Hicks groundbreaking book on the Bayeux Tapestry explores the way in which generations of people have interpreted this iconic object in the centuries after the eleventh-century Norman Conquest of Anglo-Saxon England. The Tapestry tells a pro-Norman version of the events that led up to Duke Williams victory against the Anglo-Saxon armies in 1066.

The lecture is open to all comers, and is particularly recommended for undergraduate and graduate students of History, Archaeology and English who are interested in the ways in which the past is shaped, reshaped and retold – often for nefarious political motives.

The Medieval Research Centre is a forum for all students and staff at the University of Leicester whose work focuses on the sources and interpretation of the Middle Ages (School of Historical Studies, School of Archaeology and Ancient History, School of English).

http://www.le.ac.uk/arts/medieval/

The activities of the MRC include the annual series of Public Lectures, of which this lecture is a part, as well as a research seminar series. The final lecture in the 2009 series, The Matter of Fulk: Romance and History in Fourteenth Century England? will be given by Professor Ralph Hanna, of the University of Oxford, on Wednesday 6th May.

Dr Carola Hickss talk,The Bayeux Tapestry, Napoleon and the Nazis will take place at the University of Leicester Attenborough Lecture Theatre 2 (Film Theatre) on Wednesday 18th March 2009, 6.00pm. It is open to the public and free of charge.

Taken From InLoughBorough.com

Monday, March 9, 2009

'Creation Story' Evolves On Fabric

'Creation Story' Evolves On Fabric

Artist tells nearly forgotten past in distinctive process

By Dorothy Shinn
Beacon Journal art & architecture critic

Today, many of us will sit glued to our TV sets as we wait to see on whom the Oscars will be bestowed, and to which among all the stories told the golden statue will be awarded.

We all have stories, some from our childhood, some from adulthood and some from our old age. Many of them are even good enough to write down. But not all of us have the focus and talent to make those stories into works of art, nor do we all realize that stories don't always get told in books or at the movies.

Sometimes stories get told in paint, line and figure. And sometimes stories, magnificent stories, get told in the unique and unmatched way one individual puts odd, old and unconventional materials together.

The Akron Art Museum is displaying the work of such a talent in an exhibit that reveals the focus, energy and sense of mission needed to compose memories into incredible, three-dimensional, multimedia narratives that have thrilled art lovers since the early 1980s.

Through April 5, the museum is exhibiting Along Water Street: New Work by Aminah Brenda Lynn Robinson, a mixed-media ''creation story'' pieced together from 1984 to 2007, based on tales she'd heard from her Uncle Alvin from the time she could first remember (at age 3 in 1943) until his death in 1990.

Organized by the Columbus Museum of Art, the exhibit reflects Robinson's memories of now-lost neighborhoods in Columbus along the Scioto River, as well as the universal themes of migration, community and family reminiscences.

She has stitched these stories together with others and her own belief in evolution, using her distinctive layering process, combining rags, buttons, shells and other found objects with her own drawings and paintings on handmade paper.

The Akron Art Museum, the site of Robinson's first solo museum show in 1987, is the first stop on the four-museum tour (all in Ohio) of this exhibit, which consists of 12 rag paintings, one watercolor and a form unique to Robinson that she calls ''RagGonNon,'' or artwork that just ''keeps on ragging on and on.''

The RagGonNon in this exhibit is a 60-foot-long cloth and mixed-media work encrusted with buttons, beads, men's ties, sashes and scarves, handmade dolls and spirit packets, and at least one long skinny item that closely resembles a shed snakeskin.

These pieces take years to research, assemble and create, because they continue to evolve in response to others' responses to them. This particular RagGonNon began in 1984 and expresses themes of creation, discovery, acceptance and community.

The exhibit reconstructs the history of the largely forgotten Columbus neighborhood called Water Street.

Uncle Alvin was Alvin Frederick Zimmerman, Aminah's mother's oldest sibling and only brother. His memories were in turn based on the stories he heard from his great-uncle Bill Taylor, who owned a bait shop on Water Street in an area that is now in the heart of downtown Columbus.

This area along the Scioto River was inundated during the Flood of 1913, the same flood that destroyed the Ohio & Erie Canal, one of the worst natural disasters in Ohio's history.

''In 1938, Water Street was renamed Marconi Boulevard, and after that the Water Street community was completely forgotten,'' said Allison Tillinger Schmid, Akron Art Museum assistant curator.

''Uncle Alvin's stories are combined with stories she looked up in the Columbus Library, plus stories that are more urban folklore. Uncle Alvin told stories of Native Americans greeting Africans in the 1200s in a place called Chipo Village. She couldn't find any reference to that village existing in the Ohio Valley area, but she uses it anyway.

''She goes back and forth in time, using a technique called Sankofa, which means looking to the past in order to move forward.''

Robinson's RagGonNon has the mixture of observation and oral history similar to that found in the Bayeux Tapestry, where closely examined vignettes lie cheek by jowl with lavishly embroidered fancies. For Robinson, however, Water Street is no fancy, but a metaphor for the larger story of African-Americans migrating to and from the Ohio Valley.

Her memories, her knowledge of and loyalty to her community and appreciation of the past have driven her to record these stories in a way that causes all of us to want to listen, to remember, to put down and pass on our own stories.

That, of course, is only one aspect of our attraction to this work. Visitors interested in working with fabric have been particularly responsive to this exhibit, as have those who are intrigued by artworks made up of unconventional materials.

The watercolor and the rag paintings have been framed, whereas the RagGonNon has been ''skied,'' hung in one continuous course above them.

Just as there are many layers of materials, methods and perspectives in her work, there are many ways of appreciating it.

Students from Akron's Miller South School for the Visual and Performing Arts, for instance, have borrowed Robinson's RagGonNon format to create their own project, One South High: Collaborative Works by Miller South Students Inspired by the Art of Aminah Brenda Lynn Robinson, which is on display in the Akron museum's Mary S. and David C. Corbin Foundation Gallery through March 22.

These youngsters and others who want to discuss Robinson's work will be able to do so in person when she gives a free lecture from 2 to 3 p.m. March 22 at the museum, along with the Columbus Museum of Art's Carole Genshaft and the Akron museum's Barbara Tannenbaum.

In an interview last year with Genshaft, Robinson explained the RagGonNon in this show.

''The white cloth with stitching that begins this RagGonNon is a Memory Map that has not yet been fully designed, but the voices are beginning to take shape, crossing all the boundaries of the universe,'' Robinson said. ''The voices of humanity are being shaped by God. I have tried to show the migratory flux of people going back and forth in time and the evolution of these communities.

''I show the people nestled in the Ohio Valley peering out as if to reach out to a new dawn, a new beginning.

''It is also about the system of Black Laws that made African-Americans invisible, even though we helped to build the country. . . . I have also included the Farmlands, Mount Vernon Avenue and the communities. From all these places, the ancestors' voices emerge, and they are still emerging.''

In addition to the extensive amount of work that focuses on Columbus, Robinson has created other narrative series based on the people and places she has visited, such as her residencies in Kenya, Senegal, Egypt, Israel and Chile, and more recently, Italy and Peru.

Her work reflects not only the formal training she received at the Columbus Art School (now the Columbus College of Art and Design), but also the traditional skills — papermaking, needlework — passed down to her by the elders of her family.

Robinson was a 2004 recipient of the prestigious MacArthur Fellowship, the so-called Genius Grant. The Columbus Museum of Art is developing a permanent center devoted to the study of her work.

Western Reserve PBS, in collaboration with the Akron Art Museum, has produced a documentary about Robinson that includes insightful interviews with the artist, who talks about the stories and experiences behind her works, as well as the teachers and students who created the Miller South project.

The program is available at http://www.westernreservepublicmedia.org and is being played continuously in the Akron museum's video box, along with a video on photographer Edward Weston.

''One's life does not begin with oneself,'' Robinson says at the beginning of her video. ''I stand on their shoulders, their stories, their gifts, and they allow me to continue the work.''


Dorothy Shinn writes about art and architecture for the Akron Beacon Journal. Send information to her at the Akron Beacon Journal, P.O. Box 640, Akron, OH 44309-0640 or dtgshinn@neo.rr.com.

Taken From Ohio.com