Pesquisando por: "Girls holding an offering" - Fotoarena - Agência de fotojornalismo

20230308_zia_c218_077 March 8, 2023, Beverly Hills, California, United States: This image shows: he Duke and Dutchess of Windsor Owned â??Girl Old Enough To Know Betterâ? Artwork ($4,000 - $6,000)..A framed gouache on gold paper artwork, previously owned by The Duke and Duchess of Windsor. The artwork depicts a humorous and politically relevant inscription which reads, Girl Old Enough To Know Better Would Like To Meet Man Not Quite That Old...â??Julienâ??s Auctions is proud to offer this remarkable and important collection of art created by some of the most visionary iconoclasts of our time,â? said Martin Nolan, Executive Director of Julienâ??s Auctions. â??Taken from the streets, underground galleries and private collections, these stunning works from the likes of Banksy to David Yarrow to Collette Miller are shaking the world and market with their confrontational images and messages that are stoking conversation and inspiring revolution and change to the public through the power of their art. Additionally, we are pleased to announce that a portion of Banksyâ??s Brace Yourself! painting will go towards MusiCares and their work aiding artists in the devastated music community.â?.â??We are thankful for our continued partnership with Julienâ??s Auctions and to be part of this once in a lifetime intersection of music and art,â? says Laura Segura, Executive Director of MusiCares. â??As a recipient of the portion of the sales from Brace Yourself!, MusiCares will be able to continue to provide health and human services to those within the music industry who need additional support with physical and emotional health, disaster relief, and unforeseen personal emergencies.â?..Los Angelesâ?? Julienâ??s Auctions is holding an an art auction event, Brace Yourself For Banksy: Modern And Contemporary Art, featuring a world class collection of 73 works created by some of todayâ??s leading and most influential artists includi

20230308_zia_c218_078 March 8, 2023, Beverly Hills, California, United States: This image shows: he Duke and Dutchess of Windsor Owned â??Girl Old Enough To Know Betterâ? Artwork ($4,000 - $6,000)..A framed gouache on gold paper artwork, previously owned by The Duke and Duchess of Windsor. The artwork depicts a humorous and politically relevant inscription which reads, Girl Old Enough To Know Better Would Like To Meet Man Not Quite That Old...â??Julienâ??s Auctions is proud to offer this remarkable and important collection of art created by some of the most visionary iconoclasts of our time,â? said Martin Nolan, Executive Director of Julienâ??s Auctions. â??Taken from the streets, underground galleries and private collections, these stunning works from the likes of Banksy to David Yarrow to Collette Miller are shaking the world and market with their confrontational images and messages that are stoking conversation and inspiring revolution and change to the public through the power of their art. Additionally, we are pleased to announce that a portion of Banksyâ??s Brace Yourself! painting will go towards MusiCares and their work aiding artists in the devastated music community.â?.â??We are thankful for our continued partnership with Julienâ??s Auctions and to be part of this once in a lifetime intersection of music and art,â? says Laura Segura, Executive Director of MusiCares. â??As a recipient of the portion of the sales from Brace Yourself!, MusiCares will be able to continue to provide health and human services to those within the music industry who need additional support with physical and emotional health, disaster relief, and unforeseen personal emergencies.â?..Los Angelesâ?? Julienâ??s Auctions is holding an an art auction event, Brace Yourself For Banksy: Modern And Contemporary Art, featuring a world class collection of 73 works created by some of todayâ??s leading and most influential artists includi

alb5145867 Hasselmann painter, Oinochoe form I (Girl at the well house), clay, quickly turned, painted (pottery), alternately fired, clay, Total: Height: 29.8 cm; Diameter: 12.7 cm, pottery, young woman, girls, well, water (elements), society/civilization/culture, High Classical (Greek antiquity), The shape of the jug is typical for the 3rd quarter of the 5th century B.C. in Attica: Foot with bulge and hollow, by a narrow band clearly separated from the ovoid vessel belly. Above the almost horizontal shoulder the neck widens to the cloverleaf mouth. The handle runs in a raised arch from the upper body to the mouth edge. A fountain scene is depicted: a gargoyle in the shape of a lion's head is attached to a column. Below it, on the ground, is a hydria into which the water flows from the open lion's mouth (the white covering color is only faintly recognizable). Facing the fountain stands a girl in a long, belted robe. She has placed her left foot on a rock that has been hinted at, her left hand is resting on her knee; the open right hand, stretched forward, points to the well. Above and below the scene is delimited by an egg stick. These scenes are often found on hydrias or calpids, i.e, the vessels used for fetching water. The scenes at the fountain house are an example of the complexity of the supposed everyday scenes in Attic vase art: Occasionally, the emergence of the images around 530-520 BC was associated with the improvement of the Athenian infrastructure by the tyrant Peisistratos, who improved the supply of water to the city and gave the springs an architectural setting in the form of fountain houses. Certain motifs on some vases, including the depiction of children, men and deities or the holding of flowers and wreaths and the laying of flesh - i.e. the offering of sacrifices - gave rise to other interpretations. One consideration is based on the tradition of Herodotus that in the mythical past the Athenians sent their boys and girls to the well because they had no se.

alb4459711 The Four Continents Paying Homage to Amsterdam The Four Continents Paying Homage to Amsterdam The four continents pay tribute to the city of Amsterdam. In the center, on the edge of the kogship, the Amsterdam city maiden is dressed in a Mercury hat. It has spread both arms, thus protecting the trade, symbolized by the four continents that offer their wares. She has her feet on the globe, beside which the IJ and Amstel river gods lie leaning against their vases, from which water flows with some fish, the two streams flow together. the IJ, wrapped in a fishing net and with a so-called ship's crown, sits on a dolphin and an anchor, the Amstel with a crown of rushes has two oars and a hook on it, an otter crawls between him and the vase. Against the globe an astrolabe, a Jacob's staff and a compass. To the left of this middle group is Europe, on the head the imperial crown and in both hands the horn of abundance. She is surrounded by horses and cattle, driven by a man with a club. To the left of her Africa, a black woman with a large sun hat, leading a lion to the mane, an elephant lays its trunk over its body. Africa is accompanied by a black boy with parrot and one with a salamander. Two snakes wind around her left leg, one biting the other in the head. Behind this group two men (one with a lever) haul merchandise that is packed in a bag, bale, crate and barrel, a third picks up one of the elephant stands on the floor.. On the far left, next to a bag is a grain sheaf. To the right of the city virgin Asia, a veiled woman with turban, with a crescent moon. She is standing next to a camel, which she is holding by the halter, while in her left hand she has a censer in which a boy blows. In front of her are two boys, one of whom carries a coffin, from which he lifts the lid and the other offers some tulips, in the background an ostrich a woman with a basket of fruits on her head, in the foreground a crocodile, ridden by a boy, holding a stick in the opened mouth of the ani.

alb3651972 Rim fragment of relief chalice with inscription and papyrus plants, associated with 1983.599. Dimensions: 3.5 × 2.5 cm (1 3/8 × 1 in.). Dynasty: Dynasty 22. Date: ca. 945-712 BC.Relief chalices are associated mostly with Dynasty 22 (ca. 945-712 BC). The faience lotiform chalice originated in the New Kingdom and by its association with the lotus which opens with the rising sun was a symbol of resurrection and new life. In the Third Intermediate Period these chalices began to be decorated with a wide variety of relief scenes that are all in one way or other part of a cycle of myths, legends and stories connected with the birth of a child god in the marshes, who is associated with the sun god and with the king. Sometimes the specific references may not be understandable for us at least at this time, but the sense of the marsh as a magical, liminal space, much like the forest in fairy tales or in Shakespeare's Midsummer Night's Dream, is palpable. For the Egyptians, these themes came to the fore on various ritual and festival occasions including at the Egyptian midsummer New Year just before the waters of the inundation receded and the new growth could begin.The fragment 2013.635 derives from the upper edge of a chalice. Part of an inscribed band around the rim is preserved; the remnant reads "for the ka of the priest of" followed by signs that, although clear enough, do not point to a clear translation before they break off. Beneath are the blossoms from the top of a clump of tall papyrus plants.The fragment has been associated with 1983.599, a large fragment of the wall of a chalice. At the top of that fragment may be seen the lower edge of a rim band of inscription including the lower part of three signs. The figural field beneath shows a nude girl with a lotus on her head holding a drum and moving to the left. Another figure precedes her who wears a belt; and traces of another figure (a tail?) may be seen behind her. The figures are separated by vegetation: papyrus plants and buds before the processing figure, and reeds and apparently a large leaf behind her. Below a pattern of lotus leaves surrounds the base of the cup of the chalice.There is no join between the fragments and the varying clumps of vegetation as the vessel turns do not offer any basis for association. However, inscribed chalices are rare indeed, and the proportions of the inscription band on 2013.635, the rendering of the signs, and the simple step border between the slightly raised inscription band and the figural field are very close to those on 1983.599; the latter feature in particular is distinguishing. The implied proportions of the figural fields also suit a match, suggesting a chalice including a file of figures and perhaps other figural elements separated by clumps of vegetation. The papyrus plants on 2013.635 would presumably, if there were a primary figural element, be part of the central scene as the plant most representative of the marsh. Museum: Metropolitan Museum of Art, New York, USA.

alb3633643 Terracotta statuette of a standing woman. Culture: Greek, probably Boeotian. Dimensions: H. 6 7/16 in. (16.4 cm). Date: late 4th-early 3rd century B.C..Although the Greeks had been making terracotta statuettes since the eighth century B.C., it was not until the late fourth century that they began to produce the clay figurines that are still prized for their naturalness, variety, and charm. These statuettes were first made in Athens and were soon being fabricated throughout the Mediterranean world, but they take their name from Tanagra, an ancient city in Boeotia, the region north of Attica, where great numbers were illicitly removed from tombs in the early 1870s. Whereas almost all earlier terracotta figurines represented deities, the majority of Tanagras are fashionable women or girls elegantly wrapped in thin "himatia" (cloaks), often wearing large sun hats and holding wreaths or fans. While most stand gracefully, some are seated or playing games. A number of boys are represented and Aphrodite and Eros appear as well. Many of these figurines have been discovered in private dwellings. Like other small-scale sculpture found in houses, they probably had a religious purpose and were placed in domestic shrines. They were also dedicated in sanctuaries and put in tombs. Up to a dozen statuettes were found in some graves at Tanagra. Since fashionable ladies did not usually spend much time outdoors, religious festivals and funeral processions offered the best opportunities for displaying their finery. It is therefore possible that for all their secular appearance, the Tanagras indirectly conveyed to the ancient viewer a reminder of serious ceremonies. Their relaxed curvaceous poses, sweet faces, and tightly wrapped drapery that forms a complex pattern of fine folds all derive from large-scale sculpture, such as the statues of Praxiteles, the famous Athenian sculptor who was active in the mid-fourth century B.C. The intimate, secular spirit of the Tanagras also reflects contemporary comedies by Athenian playwrights such as Menander, which placed new emphasis on the foibles of everyday life. The figurines still convey a sense of immediacy and liveliness that marks them as true works of art. Museum: Metropolitan Museum of Art, New York, USA.