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akg5857304 Italy, Tuscan Archipelago, island of Elba: historic map of Elba and first page of French travel guide book "Voyage a L`Isle d`Elbe" of 1808, in Casetta Drouot, Poggio. Paolo Ferruzzi is also running the nearby Casetta Drouot. Paolo Ferruzzi, retired art director of Academy of Fine Arts in Rome and new director of private Academy of teh Beautiful (Accademia del Bello) in Poggio, runs at Casetta Drouot, an original 17th century building with original furniture; the theatre company Compagnia teatrale dei Tappezzieri theatre company of the upholsterers). In original furnuiture of 1814, three actors play Napoleon Bonaparte, Napoleon, Marie Countess Walewska (German: Gräfin Maria Walewska), 1876 - 1817, and General Drouot. Conte Antoine (Antonio) Drouot was an artillery general of Napoleon and, in 1814, 40 years old. He followed Napoleon in his exile on Elba and became Governor of Elba. The Casa Drouot also shows a rare copy of the Code Napoleon and a rare copy of a French travel guide book to island of Elba, Napoleon may have used. The Code Napoleon has been issued on 3rd of September 1807 (3.9.1807) and is today owned by Ferruzzi. The French travel guide book, most probably used by Napoleon Bonaparte, has the title "Voyage a l`isle d`Elbe" (english: Voyage to island of Elba) and was issued, in 1808.History of this copy of the Code Napoleon: In 1814, the honorious people of village of Poggio chose the most beautiful girl in the mountain village to hand over to exiled Napoleon Bonaparte flowers, when he was visitng Poggio for the first time for inspection. The people chose "Betta la Carina", english "sweet Elizabeth" (Betta = Elisabetta), whose full name was Elisabetta Pavolini. On the piazza in front of main village church San Niccoló the girl presented herself to Bonaparte with "grazia e titubanza", dignity and hesitation, but overwhelmened, she did not speak any word. Napoleon was amused and asked her for her name. She answered: "Carina" (Sweetheart). Napoleon kep.

akg5857338 Italy, Tuscan Archipelago, island of Elba: Napoleon Bonaparte (actor: Franco Gianone) and Marie Countess Walewska (actress: Giuliana Berti) during performance in Casetta Drouot, Poggio. Paolo Ferruzzi is also running the nearby Casetta Drouot. Paolo Ferruzzi, retired art director of Academy of Fine Arts in Rome and new director of private Academy of teh Beautiful (Accademia del Bello) in Poggio, runs at Casetta Drouot, an original 17th century building with original furniture; the theatre company Compagnia teatrale dei Tappezzieri theatre company of the upholsterers). In original furnuiture of 1814, three actors play Napoleon Bonaparte, Napoleon, Marie Countess Walewska (German: Gräfin Maria Walewska), 1876 - 1817, and General Drouot. Conte Antoine (Antonio) Drouot was an artillery general of Napoleon and, in 1814, 40 years old. He followed Napoleon in his exile on Elba and became Governor of Elba. The Casa Drouot also shows a rare copy of the Code Napoleon and a rare copy of a French travel guide book to island of Elba, Napoleon may have used. The Code Napoleon has been issued on 3rd of September 1807 (3.9.1807) and is today owned by Ferruzzi. The French travel guide book, most probably used by Napoleon Bonaparte, has the title "Voyage a l`isle d`Elbe" (english: Voyage to island of Elba) and was issued, in 1808.History of this copy of the Code Napoleon: In 1814, the honorious people of village of Poggio chose the most beautiful girl in the mountain village to hand over to exiled Napoleon Bonaparte flowers, when he was visitng Poggio for the first time for inspection. The people chose "Betta la Carina", english "sweet Elizabeth" (Betta = Elisabetta), whose full name was Elisabetta Pavolini. On the piazza in front of main village church San Niccoló the girl presented herself to Bonaparte with "grazia e titubanza", dignity and hesitation, but overwhelmened, she did not speak any word. Napoleon was amused and asked her for her name. She answered: "Carina" (Sweethe.

alb3666228 Book of the Dead for the Singer of Amun, Nany. Dimensions: L. 521.5 cm (206 5/16 in); H. 35 cm (13 3/4 in). Dynasty: Dynasty 21. Reign: reign of Psusennes I-II. Date: ca. 1050 B.C..Archaeologists found this papyrus in the burial of Nany, a woman in her seventies. She was a singer of the god Amun-Re. Nany also had the title "king's daughter," which probably means that she was a child of the high priest of Amun and titular king, Painedjem I. As was customary during the Third Intermediate Period, Nany's coffins (30.3.23-.25) and boxes of shabtis (30.3.26-.30) were accompanied by a hollow wooden Osiris figure, which contained a papyrus scroll inscribed with a collection of texts called the "Book of Coming Forth by Day" - better known to us as the Book of the Dead. When unrolled, this scroll is more than seventeen feet long.The scene depicted here shows the climax of the journey to the afterlife. Nany is in the Hall of Judgment. Holding her mouth and eyes in her hand, she stands to the left of a large scale. Her heart is being weighed against Maat, the goddess of justice and truth, who is represented as a tiny figure wearing her symbol, a single large feather, in her headband. On the right, Osiris, god of the underworld and rebirth, presides over the scene. He wears the white crown of Upper Egypt and the curving beard of a god. His body is wrapped like a mummy except for his hands, which clasp a crook. On the table before him is an offering of a joint of beef. Canine-headed Anubis, overseer of mummification, adjusts the scales, while a baboon—symbolizing Thoth, the god of wisdom and writing—sits on the balance beam and prepares to write down the result. Behind Nany stands the goddess Isis, both wife and sister of Osiris. She is identified by the hieroglyph above her head.In this scene, Nany has been found truthful and therefore worthy of entering the afterlife. Anubis says to Osiris, "Her heart is an accurate witness, "and Osiris replies," Give her her eyes and her mouth, since her heart is an accurate witness." In the horizontal register above the judgment scene, Nany appears in three episodes: worshipping the divine palette with which all is written, praising a statue of Horus in his falcon form, and standing by her own tomb. Museum: Metropolitan Museum of Art, New York, USA.

alb3610609 David with the Head of Goliath. Artist: Bartolomeo Bellano (Italian, Padua 1437/38-1496/97 Padua). Culture: Italian, Padua. Dimensions: Overall (confirmed): 11 1/4 × 5 1/4 × 4 7/8 in., 9.7 lb. (28.6 × 13.3 × 12.4 cm, 4.4 kg). Date: 1470-80.This is a key work in the early Renaissance development of bronze statuettes in northern Italy. Its creator, Bartolomeo Bellano, was a disciple of Donatello's, as is documented by a payment in connection with that master's Judith Slaying Holofernes (ca. 1459, Palazzo Vecchio, Florence).[1] His independent work began with a bronze statue of Pope Paul II in Perugia (1466 - 67, now lost) and a series of Old Testament subjects in relief for the choir screen of the basilica of San Antonio (Il Santo) in Padua (1484 - 90), which features small-scale figures standing out in high relief from their backgrounds. As we know from Giorgio Vasari's biography, he went on to execute a number of small metal figures for the pope and for others, and he has been recognized as one of the earliest Italian sculptors to make a specialty of bronze statuettes.[2]David with the Head of Goliath has long been admired as one of Bellano's masterpieces in bronze.[ 3] Its debt to Donatello's famous nude David (ca. 1455, Museo Nazionale del Bargello, Florence) is reflected in the hero's pose with hip swung out and one arm akimbo and the gigantic head of Goliath at his feet. Bellano dressed David in a short tunic with many pleats -- Wilhelm von Bode once described the sculptor's boldly chiseled drapery as like crumpled paper.[4] The youthful victor's accessories include a gorget decorated with a head, probably of Medusa, in a classical allusion; boots rolled down to the calf; and a shoulder bag, whose strap crosses the right shoulder. His weapons are a sling, still weighted by a stone, and a large sword. Having hit his foe with a projectile -- stones scattered on the base give a sense that the battle has just taken place -- David triumphs over his dead opponent. The triangular gash in the giant's forehead indicates the cause of death, while the curved blade is clearly the implement that was used to lop off the giant's head. David's graceful pose, his limbs in contrapposto, emphasizes his youth and suggests serenity in the aftermath of violent conflict.Scholars divide over the relationship of this to other small bronzes by Bellano, notably a variant David in the Philadelphia Museum of Art and a Saint Jerome and the Lion in the Musée du Louvre, Paris. Hans Weihrauch saw the Philadelphia example as more clearly derivative of Donatello and believed it therefore to be earlier than the Museum's David;[5] John Pope-Hennessy followed this line of reasoning in dating the Philadelphia example to about 1466 and the present version later.[6] Museum curator James Draper believed, to the contrary, that the taut pose and sharp faceting of the Museum's statuette align it with such early works by the artist as the Miracle of the Mule relief in Il Santo (1469 - 72) and that the bulkier body, more static composition, and chunkier faceting of the Philadelphia David reflect Bellano's advancing style, as represented by the Saint Jerome in Paris.[ 7] Some scholars wondered whether the Davids under discussion are in fact by two different hands, but Draper sees them as from different phases of one career.[8] Most recently Volker Krahn has reaffirmed the early dating of the Museum's example, calling it Bellano's masterwork in the small bronze format.[9] A number of later versions testify to the continuing esteem in which this sculpture was held well into the sixteenth century.[10][Ian Wardropper. European Sculpture, 1400-1900, in the Metropolitan Museum of Art. New York, 2011, no. 6, pp. 26-29.]Footnotes:[1] Volker Krahn. "Bellano, Bartolomeo." In The Dictionary of Art, edited by Jane Turner, vol. 3, pp. 636-67. New York, 1996, p. 636.[2] Giorgio Vasari. Le vite de' più eccellenti pittori, scultori ed archetettori. 2nd ed. 3 vols. Florence, 1568. 1906 ed., edited by Gaetano Milanesi. 9 vols. Florence, 1906, vol. 2, p. 606.[3] Volker Krahn. "Bellano (Belani; Belanus; Vellano), Bartolomeo." In Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker, vol. 8, pp. 438-39. Munich, 1994, p. 439.[4] Wilhelm von Bode. "Lo scultore Bartolomeo Bellano da Padova." Archivio storico dell'arte 4 (1891), pp. 397-416, p. 412.[5] Hans R. Weihrauch. Europäische Bronzestatuetten, 15.-18. Jahrhundert. Braunschweig, 1967, pp. 97 - 98.[6] John Pope-Hennessy. Luca della Robbia. Itahca, N.Y., 1980, p. 264, under no. 57.[7] Draper in Italian Renaissance Sculpture in the Time of Donatello: An Exhibition to Commemorate the 600th Anniversary of Donatello's Birth and the 100th Anniversary of the Detroit Institute of Arts. Exh. cat. Detroit Institute of Arts; Kimbell Art Museum, Fort Worth; 1985-86. Detroit, 1985, pp. 225 - 26, no. 82.[8] Charles Avery. "Donatello Celebrations: A Major Exhibition at Detroit, Fort Worth and Florence." Apollo 123 (January 1986), pp. 14-18, p. 18; Bruce Boucher. "Detroit and Fort Worth: Sculpture in the Time of Donatello." Burlington Magazine 128 (January 1986), pp. 67-68, p. 68. Draper dates the Philadelphia and Paris bronzes to the time of Bellano's Monument to Pietro Roccabonella in the church of San Francesco, Padua (finished in 1498), on the basis of "a markedly blockier approach to modeling"; James David Draper. Bertoldo di Giovanni, Sculptor of the Medici Household: Critical Reappraisal and Catalogue Raisonné. Columbia, Mo., 1992, pp. 35 - 36.[9] Volker Krahn in Von allen Seiten schön: Bronzen der Renaissance und des Barock. Wilhelm von Bode zum 150. Geburstag. Exh. cat. edited by Volker Krahn. Altes Museum, Berlin; 1995-96. Berlin, 1995, p. 136.[10] John Pope-Hennessy. The Frick Collection: An Illustrated Catalogue. Val. 3, Sculpture: Italian. New York, 1970, p. 68, lists the known versions. After that book was published, another version came up for sale at Sotheby Parke Bernet, New York, March 23 - 24, 1973, no. 94. Museum: Metropolitan Museum of Art, New York, USA.

alb3602771 Aubrey Beardsley. Artist: Frederick H. Evans (British, London 1853-1943 London). Dimensions: 13.6 x 9.7 cm (5 3/8 x 3 13/16 in.); 12.3 x 9.5 cm (4 13/16 x 3 3/4 in.). Date: ca. 1894.A major figure in British Pictorialism and a driving force of its influential society The Linked Ring, Frederick Evans is best known for his moving interpretations of medieval cathedrals rendered with unmatched subtlety in platinum prints. Until 1898, Evans owned a bookshop in London where, according to George Bernard Shaw, he was the ideal bookseller, chatting his customers into buying what he thought was right for them. In 1889, Evans befriended the seventeen-year-old Aubrey Beardsley, a clerk in an insurance company who, too poor to make purchases, browsed in the bookshop during lunch hours. Eventually, Evans recommended Beardsley to the publisher John M. Dent as the illustrator for a new edition of Thomas Malory's "Le Morte d'Arthur." It was to be Beardsley's first commission and the beginning of his meteoric rise to fame.Evans probably made these two portraits of Beardsley (1872-1898) in 1894, at the time the young artist was achieving notoriety for his scandalous illustrations of Oscar Wilde's "Salomé" and "The Yellow Book," two publications that captured the irreverent, decadent mood of the European fin de siècle. A lanky, stooped youth who suffered from tuberculosis and would die of the disease at the age of twenty-five, Beardsley, conscious of his awkward physique, cultivated the image of the dandy. Evans is reported to have spent hours studying Beardsley, wondering how best to approach his subject, when the artist, growing tired, finally relaxed into more natural poses. In the platinum print on the left, Evans captured the inward-looking artist lost in the contemplation of his imaginary world, his beaked profile cupped in the long fingers of his sensitive hands. In contrast, in the photogravure on the right, Beardsley peers out from under his smoothly combed fringe as if scrutinizing himself in an unseen mirror. Evans presented the portraits mounted as a diptych in a folder. Produced in an edition of twenty, the sets were probably issued as a commemorative tribute following the artist's death on March 16, 1898. Museum: Metropolitan Museum of Art, New York, USA. Author: FREDERICK H. EVANS.

alb3615700 Poling the Marsh Hay. Artist: Peter Henry Emerson (British, born Cuba, 1856-1936). Dimensions: Image: 23.2 x 29 cm (9 1/8 x 11 7/16 in.)Mount: 28.6 x 40.9 cm (11 1/4 x 16 1/8 in.)Sheet ((Interleaving Plate Sheet)): 28 x 40.7 cm (11 x 16 in.). Date: 1886.P. H. Emerson's book "Life and Landscape on the Norfolk Broads," in which this image was one of forty plates, was the artist's first demonstration of the naturalism that he advocated for photography. While seeking the same goal as his ideological opposite, H. P. Robinson--recognition of photography as a fine art--Emerson drew his subjects not from literary narratives, but rather from an examination, at once both highly personal and anthropological, of the environment and daily rituals of rural life in East Anglia, the marshy coastal region northeast of London. Adamantly, even vociferously, opposed to Robinson's artificial manipulation of the medium, Emerson admitted into his own photographic vocabulary only selective focus and the careful gradation of tones, subtly rendered here by the platinum process. He looked to the work of painters for his aesthetic models, Jean-François Millet and Jules Bastien-Lepage in France and, at home, the painters of the New English Art Club, including his collaborator on "Life and Landscape," Thomas Goodall. In breaking the existing molds of ambitious photography--sharp, straightforward documentation and contrived tableaux--and opting for a more impressionist vision, Emerson blazed the trail that would be followed by the American Pictorialists, the Photo-Secession, and modern photography.Emerson immersed himself in the life and work of East Anglia, passing on his expertise in more than a half-dozen books illustrated with platinum prints or photogravures during his ten-year photographic career. But "Poling the Marsh Hay" is more than just an accurate depiction of the means by which Norfolk peasants transported their harvest over ground too sodden to traverse with carts; it is an essay on the nobility of manual labor and a meditation on nature and mortality. Below ominous dark clouds the assertive strong-bodied woman in the foreground and the shadowed figure behind pole their hay as if carrying a funeral litter. Museum: Metropolitan Museum of Art, New York, USA.