1. Brummenseweg 1 te Eerbeek | Christie's International Real Estate | R365.nl

    02:09

    from Onlinebezichtigen.nl Added 1 0 0

    http://onlinebezichtigen.nl Estate "De Snippenbergh" in Eerbeek for sale at Christie’s International Real Estate | R365.nl.

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    • 812 Stanyan Street, San Francisco, CA

      02:53

      from Payton Binnings Added 24 0 0

      3 bedroom, 2 bath top floor condominium with 2 car parking for sale.

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      • Phoenix Ancient Art at Spring Masters New York 2015

        02:58

        from Phoenix Ancient Art Added 21 0 0

        Phoenix Ancient Art is exhibiting at Spring Masters New York and the Park Avenue Armory for the second time. Among a stunning marble head of Aphrodite, Phoenix featured a wall of Egyptian vessels representing each Dynasty of Egypt. One vessel in particular was once in the Museum of Fine Arts in Boston back in 1903. DIORITE BOWL Egyptian, Early Dynastic, 2nd Dynasty, ca. 2900-2649 B.C Chephren diorite H: 10.2 cm – D: 13.7 cm Egyptians were skillful stone makers; perfect shapes and high technical execution mark their products already in the Predynastic and throughout the Old Kingdom periods. Later the harder varieties of stone were no longer used as they were substituted by soft calcite (Egyptian alabaster). This bowl with flattened foot, flaring walls and inward-curving rim is made of diorite, extremely hard rock. It was valued for its hardness and the shining effect obtained by the high polish in the sculpture pieces or vases. The title “Chephren” derives from the name of the stone quarry in Lower Nubia, which is in its turn depends of the name of the pharaoh Chephren, whose magnificent statue (Egyptian Museum, Cairo) was carved from the same blue-grey metamorphic rock. In Ancient Egypt the stone vases were considered as first rate luxury objects: they appear only in the royal tombs as well as in the graves of the elite. The art of vessel carving had already reached its peak as far back as the Old Kingdom: for example, the artisans working under the pharaoh Djoser can be credited with tens of thousands of vessels that were placed in the magazines of the step pyramid of Saqqara – we are referring to 30 - 40,000 vases of various shapes and materials, the majority of which were found broken. The creation of these objects is a frequent subject on Old Kingdom painted murals, but very few ancient workshops with the equipment have been discovered. Archaeological evidence and special studies on the technique of carving and the employed tools indicate that the carving commenced with the sculpted exterior using dolerite pounders and copper chisels, before piercing the interior with the help of the copper tubular drills and hard stone borer, a stick would forked at one end to hold an abrasive stone. To assure even and centered drilling with the most stability, the rotation was achieved by alternating the drill, from one direction to the other. These different steps were accomplished by placing the vase in a hole in the ground or on a worktable. The final polishing involved rubbing the surface with a hard stone, sand or emery. These stone vessels were used as containers of cosmetic oils and ointments in daily life; their thick walls helped to keep the substances cool. They also played a prominent role in the religious ceremonies (as offerings in the temples for frequent anointment of statues and other cult objects) and the funerary rituals (for the preparation of the mummies). Therefore, it is not surprising that a significant number of stone vessels were regularly deposited in sanctuaries and funerary settings. Stone vessels served as customary gifts of pharaoh to members of the ruling family, outstanding officials, and other favorites. The pharaoh received such gifts from appropriate persons, it is known that special rituals related to the pharaoh’s celebration and rejuvenation included anointing and special pigment application. On some occasions stone vases were sent abroad as diplomatic gifts. Archaeological finds confirm that the Egyptian stone vases were desirable trade products in the Levant and Crete, where they have been imitated in the local workshops. The imported stone vessels remained high esteem and prestige goods for a considerable period of time, as this is clearly shown by the finds of the Egyptian vases manufactured around the first half of the 3rd millennium B.C. among the contexts of the Royal Tombs of Qatna (ancient Syria), dated to the 15th – 14th century B.C., and the treasury rooms of the palace at Zakros on Grete of the 15th century B.C. PROVENANCE Ex- property of the Museum of Fine Arts, Boston; said to be from Sheikh Ali (Abadiya), acquired for the MFA in 1903 in Qena, Egypt from Ghirgas by Albert M. Lythgoe. It was acquired along with several other Old Kingdom stone vases with funds from the Emily Esther Sears Fund. Albert M. Lythgoe, 1868-1934, was founder of the departments of Egyptian art for both the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art, New York. In 1905, while excavating for the Boston Museum of Fine Arts in Egypt, he met William M. Laffan, the collector and friend of the financier and collector J. P. Morgan. Morgan, chairman of the Metropolitan Museum of Art's board of directors, was interested in forming an Egyptian Department similar to the Museum of Fine Arts, Boston. Laffan's approval of Lythgoe convinced Morgan to hire him away from Boston. In 1906 Lythgoe resigned from both his Harvard lectureship and the Boston Museum.

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        • Phoenix Ancient Art- YOUNG COLLECTORS at the Spring Masters NY 2015

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          from Phoenix Ancient Art Added 17 0 0

          Phoenix Ancient Art's new gallery, Young Collectors, was featured in the Spring Masters New York 2015 art fair. There was an entire wall display attributed to the new gallery. One of the fabulous antiquities was the MOTHER GODDESS Anatolian Neolithic, ca. 6000-5000 B.C. Black stone H: 7 cm The figure is impressive by corpulent forms and expressively cut features and limbs. The head is plastically rendered, while the body is more block-like with subtle curves (it is as wide as it is high and nearly as wide when viewed in profile as frontally). The structural composition brings harmonious look, and the high polishing which leaves the surface shining helps for the integrity of the whole. The piece has considerable tactile appeal and was apparently designed to be handled. This becomes certain when one considers that the bottom was also modeled and received the continuing lines of the buttocks and legs. The image is represented seated in a very particular pose: with one leg crossed in front and the other bent underneath. Both arms are resting on the sides along her breasts, their shapes are prominent and correspond to the large belly with incised naval. Also incised are large, almond-shaped eyes and thin lips (mouth is not always represented on similar statuettes). Many of such figures were found in the greater Mediterranean area, and mostly in Asia Minor, so some scholars believe that the type originated there. The steatopygous form undoubtedly represents the fertility goddess, the Great Mother, whose cult was primary in the religion of the early human civilization. She was considered as Mistress of all life and death, human, animal, and vegetable as well. Similar statuettes, both of stone and clay, were found by the archaeologists in the shrines, but also in the houses where they were placed among deposits of grain or legumes to stimulate the fertility of the crops. Anatolia is the name currently applied to the Asian territory of modern Turkey. The art of Anatolia has an unusually long history extending from antiquity to the modern day. It encompasses the material culture of numerous civilizations: the Hittite (18th - 12th century B.C.), Assyrian (19th - 9th century B.C.) and Akkadian empires (24th - 22nd century B.C.) in the Bronze Age, followed by the Seleucid (4th - 1st century B.C.) and Seljuk empires (11th - 12th century A.D.). Anatolian works of art were transported along trade routes to Greece and Italy, and therefore some aspects of Greek and Roman art draw their inspiration from Anatolia as well as the Near East.

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          • For Christie's - The Maximilian Schell Estate

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            from Illuminations Added 6 0 0

            Maximilian Schell was one of the most successful non-English speaking actors in the history of American cinema. He will perhaps be best remembered for his Oscar-winning performance in Stanley Kramer's Judgment at Nuremberg (1961). However, his more overlooked yet equally lasting legacy lies in his assemblage of an unparalleled collection of Post-War and Contemporary art. Illuminations were commissioned to tell the story of Schell's art collection which went on sale in Amsterdam on November 2014.

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            • For Christie's - 'Keds' by Roy Lichtenstein

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              from Illuminations Added 18 0 0

              We were commissioned by Christie's to make a short film about Roy Lichtenstein's painting 'Keds' from 1961 which is being sold in New York on 12th November 2014. You can find more information about the sale here: http://bit.ly/1ElHfdt

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              • Patek Philippe 175 - Christie's - Antoine Rauis (Le Collection'Heure)

                12:02

                from Le Guide des Montres.com Added

                Nous retrouvons Antoine Rauis (Le Collection'Heure) à Genève au coeur de la vente Christie's des 175 ans de Patek Philippe. Music : "Summer in the city" The Lovin' Spoonful

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                • Magnificent Jewels Christie's

                  01:16

                  from studio diode Added 160 0 0

                  Magnificent Jewels Christie's

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                  • Todd MacDonald - Showreel

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                    from Todd MacDonald Added 54 2 0

                    I've been lucky enough to work on some very exciting productions at this early stage in my career. Here are a collection of them mashed together in a less than three minute stream of chaos. In order of appearance: Samuel Beckett: Not I / Sky Arts / Editor & Additional Camera / July 2013 The Duchess / National Portrait Gallery / Editor / January 2013 Georgina Strang / Online Marketing / Filmmaker / June 2014 Christie’s / Online Marketing / Director & Editor / June 2014 Anarchy In Manchester / Sky Arts / Director & Editor / September 2014 White Rose / Stephan Metcalfe / Filmmaker / July 2012 Deadbeat / Winterfalle / Director & Editor / May 2014 The Making of Julius Caesar / The Open University / Editor / December 2012 The Making of An Age of Kings / Illuminations / Camera & Editor / November 2013 Shakespeare’s Sonnets / Touch Press - Faber & Faber / Editor & Additional Camera / May 2012 The Ultimate Form / Linder Sterling / Artist film / Producer & Editor / August 2014 Broadcast Storybox / Science Museum / Editor / June 2014 Music / 'Witching Hour' (Instrumental version) / Winterfalle

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                    • 2013 AADLA Springshow NYC - Phoenix Ancient Art Booth 323

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                      from Phoenix Ancient Art Added 54 0 0

                      The impact of the size of this monumental mosaic is reinforced by the superb polychromatic sense conveyed by its tesserae which contribute to its very lively character. That polychromatic effect is further enhanced by the innovative depiction of cast shadows. The composition is divided into the two principal zones consisting of a square panel in the center surrounded on all sides by a framing element in the form of a frieze in which smaller figures are involved in activities associated with viniculture. One’s attention is immediately arrested by the magnificent central rectangle, its visual impact effected by the use of tesserae of myriad colors which contributes to its polychromatic explosion of visual effects. The composition is designed as two vignettes, artfully divided by the compositional use of the grape vine. On the right, two men stand face to face. The bearded figure on the right who is wearing a short, gray-colored tunic, holds a charger onto which his companion places a bunch of grapes. His white tunic is masterfully ornamented. This group is captioned, under their feet, in Greek with the phrase, kaloi karpoi, the beautiful fruit. The larger vignette depicts a second pair of figures, oriented at a ninety degree angle to the vignette just described. The larger of the two figures in this vignette is seated on a bough around which two vines are intertwined. He is shown wearing a short tunic, held in place at the right shoulder by a round fibula, or safety pin. There is a Greek inscription below this figure, eikarios, happy. He extends his left hand toward a figure wearing a red tunic, who presents him with a covered vessel. Whereas some would interpret the seated figure as either a personification of the spirit of an individual who is “happy” because of the wine being offered in the covered vessel, others would see this individual as the owner of the villa and its vineyards. Whereas both interpretations may have merit, they overlook the fact that this composition, with its two pairs of figures, is in fact a mirror image of a subject attested in Room 27 of the Roman Imperial Villa at Casale, outside of Piazza Armerina, in Sicily. This mosaic depicts the famous episode in Book 9 of Homer’s Odyssey in which Odysseus and his men are trapped within the cave of Polyphemus, the one-eyed giant Cyclops. Odysseus, the undisputed master of all stratagems, concocts a plan whereby he offers wine to Polyphemus, who, never experiencing this delightful gift of Dionysos before in his life, becomes intoxicated and eventually passes out. Odysseus and his companions are then able to blind this giant and make their escape by clinging to the bellies of his flock. The owner of the mosaic under discussion and the mosaicist must have collaborated on the choice of the subject matter and must have consciously referred to a now lost Hellenistic original of this particular episode of The Odyssey. The caption, Happy, beneath the seated figure in this vignette of the central panel alludes not to any individual figure, but to the felicitous state imparted to the drinker by the wine, which offers release from any number of circumstances, both real and imagined. The mosaic now takes on added importance because it is the second, after the mosaic at Casale, known monumental reflection of what must be a now lost Hellenistic original painting. The transmission of this lost original may have been due to the use of pattern books, whose use is again suggested by the elements of the vignettes in this mosaic’s frieze with their reliance on Erotes which frame this central panel.

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