Blind stamped on mount, l.c.: "Carlo Ponti/Venezia" Verso, printed in black ink, l.c.: "N. 62 Ponti dei Sospiri/Style de la decadence, bâti par Antonio Contino en/1597, plus que 10 metres sur la superficie du canal. Sans/importance historique, son nom est seulement une de cel-/les dénominations expressives, qui sont tant comunes/en Italie. la façade du palais ducal est la plus interessante, qu'il y a Venise dans le style de la re-/naissance"; r.c.: "The bridge of sighs was built by Antonio Contino/1597 in the style of the decline, more than 30 feet above/the canal. it has no reference to the political system/of the republic and is therefore without peculiar interest/for history. State prisoners as Carmagnola, Foscarini and/others were kept in the dungeons of the Doges palace/ whi st the prisons connected by the bridge of sighs with/the palace were used only for common offenders as/murderers, thiefs, incendiaries etc. The interior is divi-/ded into two passages, independent of one another./Lord Byron rescued it from oblivion in the 4th canto/of Child Harold's Pilgrimage, which begins:/I stood in Venice on the Bridge of Sighs/A palace and a prison on each hand, etc."; u.l. corner: "B530,6"
Goldweights are small objects cast from brass used to weigh out quantities of gold and gold dust. They are cast using a lost-wax casting technique, wherein wax is sculpted into the desired shape and a mold is pressed around the wax model. Then, the mold is heated and the wax drained out, leaving a void in the shape of the original wax model. Liquid brass is poured into the mold and allowed to set before the caster cracks the mold open and retrieves the finished goldweight.
The Akan gold fields were an important source of West African gold from antiquity through the 20th century. Gold was traded on a global scale through both the trans-Saharan and trans-Atlantic trades. The use of gold in long-distance exchange was facilitated by the use of standardized weight measurements. Goldweights, based on divisions of the Islamic ounce, were widely employed throughout the Akan area to measure the quantity and value of gold.
Akan goldweights take many shapes. Different sized goldweights measure different amounts and values of gold dust. Goldweights also vary by their aesthetic attributes. Geometric designs are common and are found in the earliest archaeological contexts. Later goldweights take many figurative forms, often linked to proverbs, jokes, and poems. Still other goldweights duplicate adrinka, a system of visual symbols used in cloth decoration.
A middle age man in a powdered wig is shown in a bust-length portrait against an undifferentiated blue background. In addition to the wig, he is wearing a mauve silk coat, orange waistcoat, and ruffled white shirt. His shoulders are in profile to the viewer, but the sitter turns his head and looks in the direction of the viewer. The expression is one of great intelligence, wit and even humor.
De La Tour was considered the consummate master of the pastel medium. His penetrating portrayals of the aristocracy and royalty were as developed and complete as oil paintings—and as sought after. His sitters included Madame de Pompadour, the official mistress of Louis XV, herself an accomplished artist. This bust-length portrait of an unknown sitter shares the informality of the Perronneau portrait of Laurent Cars.
11.43 cm x 26.35 cm x 29.85 cm (4 1/2 in. x 10 3/8 in. x 11 3/4 in.)
A corn husk woven basket with wooden shaping dowels. One side of the rectangle is flat while the other end is curved. There are two blue stripes on the inside floor of the basket and green and purple designs on the outside.
A rectangluarly shaped woven basket with rounded edged. The bottom half and the lid of the basket are trimmed with strips of pine. The two pieces are of two slightly different sizes, making the lid fit into the bottom piece.