Colourman

rosemarygeorge:

Nude Descending by Gjon Mili, a photographic rendering of Marcel Duchamp’s Nude Descending a Staircase No. 2

Nude Descending by Gjon Mili, a photographic rendering of Marcel Duchamp’s Nude Descending a Staircase No. 2

What every Englishman needs!

a-l-ancien-regime:

The Stone Hall, Houghton Hall, Norfolk
Architects: Colin Campbell and James Gibbs (1721-1731)
Photograph: A. E. Henson (1920)
Houghton Hall (1721-31) is one of the most important houses of its time. It is also one of the most intriguing: here the Baroque and Palladian combine to splendid effect.
The largest room of the house is the entrance hall, shown here in this photograph. A room with a full complement of external architectural details: stone walls, pedimented doorcases, sculptural reliefs, deep galleries, niches and false windows. The sculptural effect is magnificent, but odd for an interior. Essentially the outside has been brought in, and the upholstered furniture looks slightly ill at ease.
This interior is peculiarly English. Rather than being based on Palladio, this form was really invented by Inigo Jones (1576-1652), who to the eighteenth-century Palladians was as much to be imitated as the Italian architect. This room was directly inspired by the hall at the Queen’s House, Greenwich, designed by Jones in the 1630s. Later Georgian architects would reconsider the merits of this approach, notably Robert Adam (1728-92).

The Stone Hall, Houghton Hall, Norfolk

Architects: Colin Campbell and James Gibbs (1721-1731)

Photograph: A. E. Henson (1920)

Houghton Hall (1721-31) is one of the most important houses of its time. It is also one of the most intriguing: here the Baroque and Palladian combine to splendid effect.

The largest room of the house is the entrance hall, shown here in this photograph. A room with a full complement of external architectural details: stone walls, pedimented doorcases, sculptural reliefs, deep galleries, niches and false windows. The sculptural effect is magnificent, but odd for an interior. Essentially the outside has been brought in, and the upholstered furniture looks slightly ill at ease.

This interior is peculiarly English. Rather than being based on Palladio, this form was really invented by Inigo Jones (1576-1652), who to the eighteenth-century Palladians was as much to be imitated as the Italian architect. This room was directly inspired by the hall at the Queen’s House, Greenwich, designed by Jones in the 1630s. Later Georgian architects would reconsider the merits of this approach, notably Robert Adam (1728-92).

a-l-ancien-regime:

Berline of the baptism of duc de Bordeaux, detail.

© RMN-GP (Château de Versailles) / Gérard Blot

vfreie:

A junior officer of the British cavalry, by William Baillie (1723-1810).

The text at the bottom is in Italian and reads: “My ensign [in Greek letters] - Sketched and etched in four hours - W. Baillie, captain of [can’t read the number] regiment of light cavalry”.

paperspaints:

Colour Trials in the bad old days…

Polesden Lacey, Surrey.

More colour assessment trials. This was for the Memorial Arch designed by Sir Hugh Casson.

Another trial can be seen here.

princedynamite:

The Temple of Love at Marie Antoinette’s Petit Trianon.

Famous 19th century London Shopfront - Berry Bros and Rudd (fellow Royal Warrantholders).

This looks like a serious case of alopecia. How long will it be before they employ the paint services of Patrick Baty of Papers and Paints?