erikkwakkel:

Sharing a binding
This is a clever book from the 18th century, printed in Oxford in 1756. It presents both the Old and New Testament, although the books are not bound together the regular way, behind one another. Instead, the binder opted to place them next to each other. This very rare binding technique is part of a family that includes the dos-à-dos (or “back to back”) binding, which I blogged about before (here). Having the two testaments bound this way allowed the reader to consult passages from both books at the same time. Indeed, the empty pages in the front and back are filled with notes, including in what looks like Greek and Hebrew. It appears this clever binding had a reader to match.
Pic: Manchester, Chetham’s Library (source).

erikkwakkel:

Sharing a binding

This is a clever book from the 18th century, printed in Oxford in 1756. It presents both the Old and New Testament, although the books are not bound together the regular way, behind one another. Instead, the binder opted to place them next to each other. This very rare binding technique is part of a family that includes the dos-à-dos (or “back to back”) binding, which I blogged about before (here). Having the two testaments bound this way allowed the reader to consult passages from both books at the same time. Indeed, the empty pages in the front and back are filled with notes, including in what looks like Greek and Hebrew. It appears this clever binding had a reader to match.

Pic: Manchester, Chetham’s Library (source).

(via fired-earth)

japaneseaesthetics:

Netsuke: Autumn grasses with praying mantis, 18th century, Japan Attributed to the artist RyûsaCarved ivory; H. 7/8 in. (2.2 cm), Diam. 2 1/8 in. (5.4 cm) Gift of Mrs. Russell Sage, 1910 (10.211.1271).  MET

japaneseaesthetics:

Netsuke: Autumn grasses with praying mantis, 18th century, Japan

Attributed to the artist Ryûsa

Carved ivory; H. 7/8 in. (2.2 cm), Diam. 2 1/8 in. (5.4 cm)

Gift of Mrs. Russell Sage, 1910 (10.211.1271).  MET

glazebook:

264. Ogden Gold Metallic (^6 oxidation)
60 Manganese Dioxide10 Black Copper Oxide20 Red Art Clay10 China Clay
**temperamental! Too thin turns matte gray, too thick turns matte black.

glazebook:

264. Ogden Gold Metallic (^6 oxidation)

60 Manganese Dioxide
10 Black Copper Oxide
20 Red Art Clay
10 China Clay

**temperamental! Too thin turns matte gray, too thick turns matte black.

claycult:

From the Vault, pieces from the land of Ago.

(via fired-earth)

japaneseaesthetics:

Yumi-dai (archery stand) comprising a wooden shaft with brass and tooled leather mounts, with two bows of black lacquer bound with red-lacquered rattan bands, 119.5cm (47in); the utsubo (quiver) of roiro, lacquered in gold hiramakie with mitsu-tomoe mon containing ten bamboo-shaft arrows with gold and black lacquer details.  About mid-19th century, Japan

japaneseaesthetics:

Yumi-dai (archery stand) comprising a wooden shaft with brass and tooled leather mounts, with two bows of black lacquer bound with red-lacquered rattan bands, 119.5cm (47in); the utsubo (quiver) of roiro, lacquered in gold hiramakie with mitsu-tomoe mon containing ten bamboo-shaft arrows with gold and black lacquer details.  About mid-19th century, Japan

potterybyjohnfoster:

A pot from last firing , used Cassius clay, very nice to work with and fires gorgeous

japaneseaesthetics:

Four sections of a tall painting by the artist Kawanabe Kyosai.   1878, Japan