In September of 2011, the archives of liturgical artist Ernst Schwidder arrived at Valparaiso University, after hitchhiking all the way from Seattle/Tacoma in the back of a semi-trailer loaded with organ pipes. The archives consisted of 240 three-foot mailing tubes filled with rolled-up architectural drawings and sketches, plus boxes of files, records, photos, and slides. Since Schwidder’s art is installed in approximately three hundred churches across the United States...
Explore AngelaTiara's 990 photos on Flickr!
Artist: Danielleorama Title: Twi’lekling Medium: Fleece, Wool Felt, Buttons, Polyfil and Safety Eyes Size: 8”x21” This artwork is part of Bear and Bird Gallery's "Stitch Wars" exhibition in Lauderhill, Florida. Exhibition runs July 18 - August 29, 2009, for more information visit our website www.bearandbird.com
Squeeze them,you must! An art friend from High School,who happens to be a huge Star Wars fan,"encouraged" me to create a Princess Leia inspired doll from my original Kimono Kids pattern. I love a challenge and did not walk away from this one! After a little tweak here and there not only did she come into existence but Master Yoda followed shortly. I really wanted to keep the key points of one of my Kimono Kids but with the essence of each character they portray so my artistic license was used liberally:o). Made from: fleece,a little felt,a little ribbon(yoda's belt),a tiny sewn on button(yoda's pouch),two tufts of white fun fur(yoda),a pair of safety eyes,a smidge of pe pellets,and a ginormous pile of Poly-fil. Yoda's little pouch on his belt can be opened and his walking stick is removable ******** Über soft and squeezable!******** see my profile for a link
Handmade plush of wool felt, polar fleece, poli-fill and poli-pellets. (He has a happy home with Anothony and Lori!)
Our #HunterDouglas window treatments are not only elegant but a practical solutions for your home too! Here are 4 reasons why you would fall in love with our window treatments.
Ogden's Cigarettes "By the Roadside" (series of 50 issued in 1932) #30 Iron Cresset (torch holder), Monkton Hadley Church, near Barnet
The Tame Duck, Water Birds, 1804. Thomas Bewick, A Memoir of Thomas Bewick, ed. M. Weekley ( London: The Cresset Press, 1961).
Hines, along with Cresset Wealth Advisors and Levy Family Partners, developed Brava, a luxury for-rent residential high-rise community in…
'Dominique' by Eugene Fromentin. Copyright 1948; No print date (circa 1952). Grove Press dust jacket on an imported hardcover originally published by The Cresset Press (UK). Cover design by Roy Kuhlman.
As the design and the carving of wood engravings began to merge into the persona of a single individual in the 1930s (as mentioned in yesterday's post), the art form began to attract some of this past century's most talented illustrators: Eric Gill, Gwen Raverat, Paul Landacre, Agnes Miller Parker, Fritz Eichenberg...the list is quite large. Today, we're going to look at the work of a few of these talented individuals . Then tomorrow, we're going to consider some specific ways in which we can most inexpensively build a private library of books illustrated by wood engravings. To get some sense of the various styles represented in books illustrated by wood engravings, we begin with Blair Hughes-Stanton: The Vortex, 1929 Hughes-Stanton (1902-1981) is best known for the books he illustrated for several fine presses: the Golden Cockerel Press, the Cresset...
Oil on canvas; 76.2 x 50.8 cm. John Northcote Nash CBE RA was an English painter, illustrator, and engraver. He was born in London, the younger brother of the artist Paul Nash. Educated at Wellington College, he exhibited with his brother from 1913, and fought in World War I from 1916 to 1918 with the Artists Rifles. He worked as an official war artist from 1918. From 1924 to 1929 he taught at The Ruskin School of Drawing and Fine Art (Oxford), and from 1934 to 1940 taught at the Royal College of Art (London). He started World War II in the Observer Corps, moving to the Admiralty as an official war artist in 1940. He was promoted Acting Major in 1943. Nash had no formal art training but was encouraged by his brother to develop his abilities as a draughtsman. His early work was in watercolor and included biblical scenes, comic drawings and landscapes. A joint exhibition with his brother Paul at the Dorien Leigh Gallery, London, in 1913 was successful, and John was invited to become a founder-member of the London Group in 1914. He was an important influence on the work of the artist Dora Carrington, and some of her works have been mistaken for his in the past. After World War I his efforts went into painting mainly landscapes. Emotions, however, concerning the war continued to linger and this was depicted in his landscape painting. Although he had a great love of nature he often used natural subjects to convey powerful and sensitive thoughts concerning the human condition. In addition to his painting abilities John Nash was also an accomplished printmaker. He was a founder member of the Society of Wood Engravers (1920), he produced woodcuts and wood engravings first as decorations to literary periodicals, and then increasingly as illustrations for books produced by the private presses; these include Jonathan Swift’s Directions to Servants (Golden Cockerel Press, 1925) and Edmund Spenser’s The Shepheard’s Calendar (Cresset Press, 1930). A particular interest in botanical subjects can be instanced in this period by his illustrations to Gathorne-Hardy’s Wild Flowers in Britain (Batsford 1938).
Oil on canvas; 56.4 x 76.7 cm. John Northcote Nash CBE RA was an English painter, illustrator, and engraver. He was born in London, the younger brother of the artist Paul Nash. Educated at Wellington College, he exhibited with his brother from 1913, and fought in World War I from 1916 to 1918 with the Artists Rifles. He worked as an official war artist from 1918. From 1924 to 1929 he taught at The Ruskin School of Drawing and Fine Art (Oxford), and from 1934 to 1940 taught at the Royal College of Art (London). He started World War II in the Observer Corps, moving to the Admiralty as an official war artist in 1940. He was promoted Acting Major in 1943. Nash had no formal art training but was encouraged by his brother to develop his abilities as a draughtsman. His early work was in watercolor and included biblical scenes, comic drawings and landscapes. A joint exhibition with his brother Paul at the Dorien Leigh Gallery, London, in 1913 was successful, and John was invited to become a founder-member of the London Group in 1914. He was an important influence on the work of the artist Dora Carrington, and some of her works have been mistaken for his in the past. After World War I his efforts went into painting mainly landscapes. Emotions, however, concerning the war continued to linger and this was depicted in his landscape painting. Although he had a great love of nature he often used natural subjects to convey powerful and sensitive thoughts concerning the human condition. In addition to his painting abilities John Nash was also an accomplished printmaker. He was a founder member of the Society of Wood Engravers (1920), he produced woodcuts and wood engravings first as decorations to literary periodicals, and then increasingly as illustrations for books produced by the private presses; these include Jonathan Swift’s Directions to Servants (Golden Cockerel Press, 1925) and Edmund Spenser’s The Shepheard’s Calendar (Cresset Press, 1930). A particular interest in botanical subjects can be instanced in this period by his illustrations to Gathorne-Hardy’s Wild Flowers in Britain (Batsford 1938).
