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Author: South Kensington Museum
Publisher:
ISBN:
Category : Art objects
Languages : en
Pages : 386
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Book Description
Author: South Kensington Museum
Publisher:
ISBN:
Category : Art objects
Languages : en
Pages : 386
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Book Description
Author: William Maskell
Publisher:
ISBN:
Category :
Languages : en
Pages : 388
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Book Description
Author: Paul Williamson
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 364
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Book Description
"The first volume of a new catalogue of the Victoria and Albert Museum's collection of medieval ivory carvings, covering the years 400-1200, appeared in 2010. The present two volumes complete the catalogue, taking in every piece carved between about 1200 and 1550; and it is satisfying to report that a further volume, on the post-medieval ivories, was published by my colleague Marjorie Trusted in 2013."--Preface, p. 9.
Author: William Maskell
Publisher:
ISBN:
Category : Ivories
Languages : en
Pages : 148
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Book Description
Author: William Maskell
Publisher:
ISBN:
Category :
Languages : en
Pages : 420
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Book Description
Author: Paul Williamson
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 58
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Book Description
Author: South Kensington Museum, London
Publisher:
ISBN:
Category : Art objects
Languages : en
Pages : 400
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Book Description
Author: British Museum. Department of British and Mediaeval Antiquities and Ethnography
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 504
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Book Description
Author: William Maskell
Publisher:
ISBN:
Category : Ivories
Languages : en
Pages : 140
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Book Description
Author: Carolyn Loessel Connor
Publisher:
ISBN: 9780691048185
Category : Art
Languages : en
Pages : 129
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Book Description
Intrigued by barely visible traces of paint or stain, Connor subjected such ivory objects as boxes, plaques, and book covers to scientific analysis. Under the microscope, she saw that their surfaces were once ablaze with color, while tests identified the actual pigments. Her findings, presented here, demonstrate that the ivories were colored and that the paint or stain - which does not adhere well to the surface of ivory - either wore off or was cleaned away. She draws on the work of archaeologists, classicists, historians, and art historians to show that this color was almost certainly original and not, as many scholars have assumed, a medieval or later addition. The author also locates Byzantine ivories within a long tradition of colored ivory going back, for example, to a painted chest found in the tomb of the Egyptian boy-king Tutankhamen.
