Signed in pencil on tab: butterfly Inscribed in pencil, on verso, l.l. (in Whistler's hand): "Battersea Morn" - 1st - / Plate destroyed Signed on the plate, u.r.: butterfly Watermark: Arms of Amsterdam
A stretch of water in the foreground and middle ground leads to a horizontal distant shore that is composed of a series of horizontal stepped recessions. The buildings on the far shore appear to be industrial buildings, with many smokestacks. At the bottom of the image are some lightly drawn boats.
Whsitler's home in Chelsea afforded him with views such as this looking towards the commercial portions of Battersea, across the Thames. Whistler favored depicting the river at transitional times of day: dawn, dusk, nighttime because the reduced lighting suggested a poetic beauty, even of warehouses, that broad daylight did not. Here, at dawn, Whistler captures the moment when the shape and mass of objects just begins to coalesce and take on substance.
Semi-circular goldweight with horizontally incised rays.
Goldweights have long been used and produced by Akan-speaking peoples of what is now Ghana and Côte d'Ivoire. The oldest and most numerous kind of weights are the abstract ones, made of little blocks of brass, bronze or copper. Circular and semi-circular shapes are fairly common among the abstract weights; they are commonly interpreted as either the sun or the moon and the life-giving powers of either of them.
Two men sit on a bench at the lower right. Behind them is a large expanse of water; barges ply the water while smokestacks and buildings are visible on the opposite shore. The overall impression is one of foggy weather and features are generally indistinct.
Whistler found that liminal times of day offered effects that he could translate into a particularly appealing visual poetry. Many of his works sited from the part of Chelsea where he lived looked across the Thames towards the industrial establishments of London; these unpromising views were transformed by his atmospheric and evocative portrayals.
A girl is facing left, while there is a unicorn on the left and a butterfly on the bottom left of the printing. The sun is above the unicorn indicating it is in the middle of the day, in the afternoon.
The sun sets in the horizon, in the forefront of the photo is a large body of water with three people floating across in a boat. The person in the middle has been photographed in mid-stroke. The figures are cast in the shadow of the setting sun.
A densely painted work, this cacnvas portrays a landscape with dramatic clouds. Autumnal colors predominate this rocky landscape with several figures in the middle distance; in the distance a line of trees projects above the horizon line.
Although Decamps was known as one of the first painters to travel to North Africa and Asia Minor, he spent much of his youth in the north coast of France in Picardy. From these early years, he developed an interest in images of peasants at work. This landscape, with its strong contrasts of light and shadow, is characteristic of Decamps’ work. Also characteristic is his very dry application of paint with warm tonalities of browns.
This watercolor, chalk and pastel on brown paper depicts a loosely sketched landscape with a dramatic grey-blue cloud taking up most of the composition. A triangular sliver of green and white water interrupts the land and sky from the left below the horizon line. The foreground is rendered in a broad wash of brown watercolor.
The vase has a slightly outward-turned rim and a short neck. The elegantly-shaped bottle flares out to a broad shoulder, then tapers gradually to a slim waist before flaring out once more at the base. The shoulder, mid-belly and base of the vase are decorated with black and white clay-inlaid cloud, crane and butterfly motifs.
It might not be made in Goryeo Dynasty.
Prunus vase has been used for containing the liquid such as liquor. In addition, It has been used to contain honey or sesame oil. At the party It was used to put a flower. The mouth is small and the shoulder is big.