title: Vasnetsov samolet

artist: Viktor Mikhailovich Vasnetsov

date: 1880

medium: Technique oil canvas

dimensions: Size cm 165 297

current location: Institution:Art Museum of Nizhny Novgorod

source: [link belygorod.ru]

credit: belygorod.ru

description: The flying carpet, a depiction of the hero of Russian folklore, Ivan Tsarevich

title: 元 佚名 倣趙孟頫 九歌圖 冊 Nine Songs MET DP375125

artist:

date: 14th century (?)

medium: Album of eleven paintings; ink on paper

dimensions: 10 3/8 x 6 1/4 in. (26.4 x 15.9 cm)

current location: Institution:Metropolitan Museum of Art

source: link Template:TheMet

credit: This file was donated to Wikimedia Commons as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy

title: Polonaise carpet with flying cranes Kashan (Iran) - 16-17th century - MET - Inventory number 43.84

artist: unknown

date: late 16th–early 17th century

medium: Silk, metal wrapped thread; tapestry weave

dimensions: Textile: H. 87 in. (221 cm) W. 58 1/2 in (148.6 cm) Mount: H. 95 1/2 in. (242.6 cm) W. 66 1/2 in. (168.9 cm) D. 2 in. (5.1 cm)

current location: Institution:Metropolitan Museum of Art

source: link

credit: link

title: Italianate Harbour View with a Fantasy Building and Man of-War RMG BHC0929.

artist: Abraham Storck

date: 1697

dimensions: Frame: 968 mm x 1113 mm x 80 mm;Overall: 21 kg;Painting: 760 mm x 915 mm

current location: Institution:Royal Museums Greenwich

source: link

credit: link

description: Italianate Harbour View with a Fantasy Building and Man-of-War

This Italianate harbour view is one of the many Mediterranean depictions painted by Abraham Storck from 1665. The composition scheme used, here, is common in his oeuvre. In the foreground he has depicted a stone quay, with an antique obelisk and fountain, surrounded by colourful figures. The staffage around the obelisk and the fountain indicates trade activity in the harbour. A man leans looking into the fountain. Figures are sitting on bales with lettering visible on them. Clothed in black and carrying a sword in its sheath, a captain negotiates with merchantmen. They are wearing eastern dress which affirms the trade links with the Ottoman world that are implied elsewhere in this painting. Lying by the quayside a small boat, flying the Dutch flag, draped with carpets is partly obscured behind the obelisk. A man standing on board blows a trumpet, probably summoning people to embark, possibly to announce their imminent departure. A number of figures carry bundles. On the right, several men, standing on the steps leading down to the water, are talking to four men in a boat moored alongside. The emphasis of this painting is trade.

Behind the quay, on the left, is a prestigious ‘classicized’ building with a monumental staircase. The open staircase is crowned with a few classical sculptures: two statues of horses at the top of the steps and a pair of sphinxes positioned at the bottom. Carpets hang from the balcony above the portico. A number of trading craft, including some Mediterranean feluccas, are shown at the bottom of the steps with one flying the flag of Genoa. At the time the small feluccas were used to transport passengers between the various harbour towns in Italy and France. To the right is a warship which is equipped with numerous guns. These can be seen through the open ports. The ship, built in the Dutch style, carries the centuries-old Jerusalem cross with four small red crosses between the arms of a large red cross on a white field. A large red ensign flies on the stern, depicting a standing golden lion with right paw raised. An allusion is possibly made, here, to a ship with Venetian connections. Perhaps the warship and a galley, which heads seaward, are preparing to leave the harbour.

In the distance the entrance to the port is flanked by sturdy fortifications. The work exudes the atmosphere of a southern harbour on a sunny day. However, whilst Storck gives the impression of an everyday scene, the architectural context is not based on reality. At the end of the seventeenth-century, many Dutch artists turned away from the styles and subjects of their home country. Storck was one of several marine painters who produced views of Mediterranean ports which were probably fantastical since there is not evidence that he went there. Merchant shipping appears alongside architectural ruins and are depicted in the crystal-clear colours of Italian art of the period. Such scenes anticipated the popular eighteenth century Italian capriccio. The façade of the monumental building is reminiscent of a Venetian palazzo or a variation of a villa from the surroundings of Rome. Storck probably worked from prints of existing buildings but, here, diverged from them as he often did. The lantern on the roof, complete with weather vane, is derived from the Amsterdam town hall. Similar combinations of Mediterranean architecture and prominent Dutch buildings occur more frequently, particularly in the work of both Abraham and his brother Jacob, from around 1670. In the seventeenth century antique obelisks on a limestone base, accompanied by a basin, as depicted here, could be found in the Piazza del Popolo in Rome among other places. The most famous granite obelisks, which lacked hieroglyphs, are those found in the Piazza dell’Esquilino and the Piazza del Quirinale, Rome. Storck based the athletic figures with their horses, at the top of the staircase in this scene, on the Dioscuri, the horse-tamers Castor and Pollux, found in the Piazza del Quirinale, Rome. This square was known as the Piazza di Monte Cavallo in the seventeenth century.

The artist, Abraham Storck, trained and worked with his father and became a member of the Guild of St Luke in Amsterdam. His river and coastal scenes were influenced by Ludolf Backhuysen, Willem van de Velde the Younger and Jan Abrahamsz Beerstraten. He showed considerable accuracy in depicting the rigging and technical details of ships. Also he concentrated on representations of both spectators and passengers, showing great skill in the depiction of the human figure, through characterization and attention to costume and detail. Storck's most popular paintings are views of harbour cities and river scenes. Most of these topographical views are of Dutch subjects, often depicting recreational and ceremonial aspects of shipping, with an emphasis on colourful pleasure yachts occupied by passengers in festive dress. The painting is signed 'A Storck Fecit Ao 1697' on the base of the obelisk.

title: Portuguese Carracks off a Rocky Coast RMG BHC0705.

artist:

anonymous

 

date: circa 1540

dimensions: Frame: 986 mm x 1662 mm x 90 mm;Overall: 37 kg;Painting: 787 x 1447 mm

current location: Institution:Royal Museums Greenwich

source: link

credit: link

description: Portuguese Carracks off a Rocky Coast

This large, detailed panel is the oldest painting of the sea by a Flemish or Flemish-trained artist in the collection of the National Maritime Museum. It is one of the few contemporary paintings of ships of the first half of the sixteenth century and one of the best representations of the first generation of ocean-going merchantmen. The subject is generally thought to be the carrack 'Santa Catarina de Monte Sinai' bringing the Infanta Beatriz, second daughter of King Manuel of Portugal, to Villefranche for her marriage to Charles III, Duke of Savoy, in 1521. The Portuguese vessels are shown wearing Manuel's flags and emblems but were met by Italian ships during the journey from Lisbon. However, considering the distinctly Flemish style of the painting, this identification of the subject remains debatable - although Flemish artists did work in Portugal and Spain, notably (in the marine sphere slightly later) Hendrick Corneliz Vroom. That said, in this case the original function of the painting and the identity of the artist remain elusive. An examination of the oak panel suggests that it was probably originally set in a wall frame or wall panelling and, therefore, could have been part of a larger decorative scheme. This may, in turn, support the hypothesis that it is the work of a prestigious painter, depicts an historical event such as the wedding voyage of 1521, and was possibly intended for a ‘public’ space.

The 'Santa Catarina' was richly adorned for the wedding voyage of the Infanta. Quarters were prepared for her, the Count de Villa, ambassadors and officials in the stern castle of the ship. These apartments were decorated with splendid fittings, fine silver and given a gilded finish. The Infanta's cabin was furnished with brocade, carpets and velvet cushions. The awning of the ship was of crimson velvet and white damask, with borders that were described as of velvet with tassels of silk, and lined inside with blue damask from China. There were two very large damask flags with the royal arms painted in gold and silver on the ship's stern. Another 84 large flags of crimson and white damask decorated the masts and yardarms. A band of musicians also accompanied the Infanta.

The painting depicts ten ships, a caravel, three galleys and a rowing barge, off a coastline on the right. This mountainous ‘world-landscape’ consists of a fortified tower on a rocky outcrop above a steeply rising walled town. A man-made harbour can be seen below. Inside the harbour are a number of ships. Two of these vessels are shown at anchor. Beyond this is another at anchor and one more coming to anchor. Wooded hills are visible in the background, on the right, and an island lies off-shore in the distance on the left. The scene is observed from a high vantage point. An aerial perspective is introduced through the warm brownish-green tones in the foreground which gradually change into cooler blues in the background.

In the centre foreground, the carefully delineated principal ship is a large armed Portuguese merchant carrack. She is shown firing a salute to port and starboard. This is thought to be the 'Santa Catarina', which was built of teak at Cochin, India, in 1510, to serve as one of the large armed merchant ships of the Portuguese East Indies trade. She is shown in starboard-quarter view. Figures on board are carefully delineated and are evident in both the rigging and main-top ('crow's nest'). Nine other ships of broadly carrack form are present, five under sail and the four at anchor. The two under sail, immediately flanking the 'Santa Catarina', are flying Portuguese colours and firing salutes from single guns towards her. The ships are a combination of four- and three-masters with a pair of two-masted galleys in the right foreground and middle distance. Beyond the far side of the harbour entrance a three-masted lateen-rigged caravel approaches in port-bow view. In the foreground the galley with crewmen visible, heading towards the 'Santa Catarina', flies Savoyard banners. From one of her starboard bow guns, the galley fires or returns the 'Santa Catarina's' salute. This and the dragon figurehead of the 'Santa Catarina' are visible through the artist's use of isometric perspective, which brings details into view that would not be seen from the perspective of the viewer.

The mainsail (technically a 'main course') of the 'Santa Catarina' is the biggest sail in the painting and consists of several elements. It has been extended by the addition of two (or 'double') bonnets, in the fine weather. Their fixing points have been coded by pairs of apparently random letters so that they match up correctly. One of these may be 'A T' in monogram form. However no artist is known with those initials. This painting has been variously and incorrectly ascribed to the Portuguese painter Gregorio Lopez (d. 1550), Pieter Bruegel, Cornelisz Anthoniszoon, c. 1500-55, and Hendrick Cornelisz Vroom. The land- and townscape show the influence of the Flemish painter Joachim Patinir, d.1524, and are Flemish in colouration and style. The National Maritime Museum aimed to clarify the attribution after Sir James Caird acquired the panel for over £2000 in 1935. In 1936, correspondence between the Museum and art historian Max Friedländer, as well as the Director of the Warburg Institute, Fritz Saxl, placed the painting between the oeuvres of Joachim Patinir and Pieter Bruegel. Friedländer dated the panel to 1540 and he supported the suggestion made by Charles Tolnay that the painting could be by either Jan or Matthijs Cock. A stylistic comparison with the rendering of the waves and the delineation of the rocks in 'The Martyrdom of St Catherine', in the National Gallery of Art, Washington, may tentatively support the latter attribution.

The only other contemporary painting to show Portuguese carracks, in similar detail, is the 'Santa Auta' altarpiece. This was formerly in the Santa Auta Chapel (c. 1522, to which the altarpiece is thought to be coeval) in the convent of Xabregas outside Lisbon: today it is in the Museu Nacional de Arte Antigua, Lisbon. Santa Auta was one of the mythical companions of St Ursula. The martyrdom of Santa Auta in Cologne is the subject of the foreground and the shipping is depicted in the background. In 1972 the Ministerio da Educacao Nacional, Institito de Alta Cultura, Centro de Estudios de Arte e Museologia, published a study of this (with reference to the painting held in the National Maritime Museum) entitled 'Santa Auta Altarpiece, A Research Study', but unfortunately it is not illustrated. Whatever its origin, the present painting exemplifies the emancipation of landscape and the sea. The artist has deemed both subjects worthy of large-scale, independent treatment and - at a very early date- has demonstrated their validity for paintings of considerable size. As far as currently known, it is the earliest surviving representation of a marine subject for a secular rather than religious purpose.

title: A warm birth for the old administrator (BM 1851,0901.69)

artist:

date: 1782

medium: paper

dimensions: : Height: 250 millimetres : Width: 356 millimetres

current location: Institution:British Museum

source: link

credit: link

description: George III on his throne asleep, while the new ministry, helped by devils, drive out the king's old advisers. The king, his throne raised on a dais of three steps covered with a fringed carpet, leans back, his mouth open, his feet crossed. His ermine-trimmed robe hangs open and shows a crown stuffed into the pocket of his coat.

From his right hand his sceptre is falling; in his left he holds a book, inscribed "Pinchee on Snuffers", an allusion to Pinchbeck, the supposed "king's friend", see BMSat 5234, &c. Cf. W. Mason's 'Ode to Mr. Pinchbeck upon his newly invented candle-snuffers', 1776. In the centre of the room, at the foot of the dais, stands Charles Fox with a fox's head, in back view, his left hand on the shoulder of the Devil, his right holding North by his neck-cloth. He looks at the Devil saying, "This is Boreas; he'll make an excellent pair of Bellows Old Boy". Large bunches of grapes protrude from the pockets of Fox's coat, cf. BMSat 5962. The Devil wears a toupet-wig and queue, coat, ruffled shirt and trousers, showing bare feet with talons. He has horns, tail, and claws, and holds in his right hand a long pitchfork, ornamented with tassels. North puffs from his mouth a visible blast; from his coat pocket project bars inscribed Soap, an allusion to the tax laid on soap. Cf. BMSat 5964, &c.
Behind, demons are carrying off the king's late advisers through a wide doorway, over which is carved "Pandaemoniu[m]", towards flames and smoke. A demon (right), clad in a pair of breeches, runs towards the door holding on his shoulders Sandwich and Germain (created Viscount Sackville on 11 Feb. 1782) tied back to back, Sackville underneath looking over the demon's back; he holds in his right hand a broken sword, in his left a "Pla[n] of Minden" in allusion to his supposed cowardice at Minden. Sandwich's legs hang over Sackville's shoulders, he holds out his arms, crying "Wee'r sailing in a damn'd hot Latitude". A small imp or winged serpent above their heads darts flames at them. Bute in Highland dress is being pushed towards the flames by a small demon who prods him with a pitchfork saying Gee up lazy Boots. On Bute's left is Mansfield, [Thurlow, according to Grego] in judge's wig and gown, a flying demon has clutched him by the wig and is dragging him towards the flames. A demon's head looks out of the fire at the advancing victims.
On the wall of the room, to the right of the king, is a picture, the "Wisdom of Solomon"; where the incident of the two mothers, the infant, and the executioner is freely sketched on a small scale. 2 April 1782

title: Telephone Directory for Kannapolis, China Grove, Landis N.C. (1965) DPLA - d1229edc19586bc067e925d32b06e511

artist: unknown

date: 1965

current location: Institution|wikidata=Q69481979

source: DPLA| Q69481979 |hub=North Carolina Digital Heritage Center|url=link

credit: This file was contributed to Wikimedia Commons by Cabarrus County Public Library as part of a cooperation project. The donation was facilitated by the Digital Public Library of America, via its partner North Carolina Digital Heritage Center. Source record: link DPLA identifier: d1229edc19586bc067e925d32b06e511

title: Hill's Burlington (Alamance County, N.C.) City Directory (1952 1953) - DPLA - 5803f6172804e509f2d36c71a6349da8

artist: unknown

date: between 1952 and 1953

current location: Institution|wikidata=Q192334

source: DPLA| Q192334 |hub=North Carolina Digital Heritage Center|url=link; c971.1 b96h

credit: This file was contributed to Wikimedia Commons by University of North Carolina at Chapel Hill as part of a cooperation project. The donation was facilitated by the Digital Public Library of America, via its partner North Carolina Digital Heritage Center. University of North Carolina at Chapel Hill identifier: b3235982; c971.1 b96h Source record: link DPLA identifier: 5803f6172804e509f2d36c71a6349da8

title: Hill's Burlington and Graham (Alamance County, N.C.) City Directory (1960) DPLA - 292c410f98adb099257fb44707b6fa15

artist: unknown

date: 1960

current location: Institution|wikidata=Q192334

source: DPLA| Q192334 |hub=North Carolina Digital Heritage Center|url=link; c971.1 b96h

credit: This file was contributed to Wikimedia Commons by University of North Carolina at Chapel Hill as part of a cooperation project. The donation was facilitated by the Digital Public Library of America, via its partner North Carolina Digital Heritage Center. University of North Carolina at Chapel Hill identifier: b3235987; c971.1 b96h Source record: link DPLA identifier: 292c410f98adb099257fb44707b6fa15