Everyone's photos, videos and docs, with the keywords: "faience"

Faience Statuette of Isis with Infant Horus in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sun, 08 Feb 2026 01:28:42 +0000

Title: Statuette of Isis with the infant Horus

Period: Ptolemaic Period

Date: 332–30 BCE

Geography: From Egypt

Medium: Faience

Dimensions: H. 17 × W. 5.1 × D. 7.7 cm (6 11/16 × 2 × 3 1/16 in.)

Credit Line: Purchase, Joseph Pulitzer Bequest Fund, 1955

Object Number: 55.121.5

Curatorial Department: Egyptian Art

For the ancient Egyptians the image of the goddess Isis suckling her son Horus was a powerful symbol of rebirth that was carried into the Ptolemaic period and later transferred to Rome, where the cult of the goddess was established. This piece of faience sculpture joins the tradition of pharaonic Egypt with the artistic style of the Ptolemaic period. On the goddess's head is the throne hieroglyph that represents her name. She also wears a vulture head-covering reserved for queens and goddesses. Following ancient conventions for indicating childhood, Horus is naked and wears a single lock of hair on the right side of his head.

Text from: www.metmuseum.org/art/collection/search/548310

Faience Statuette of Isis with Infant Horus in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sun, 08 Feb 2026 01:28:43 +0000

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Faience Statuette of Isis with Infant Horus in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sun, 08 Feb 2026 01:28:45 +0000

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Figurine of Ptah in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sun, 08 Feb 2026 00:28:49 +0000

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On loan to The Met

Title: Figurine of Ptah

Period: New Kingdom

Date: ca. 1336–1070 BCE

Medium: Faience

Dimensions: 6.4 × 3.9 × 4.2 cm (2 1/2 × 1 9/16 × 1 5/8 in.)

Credit Line: University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia;
The Eckley B. Coxe Jr. Expedition to Mit-Rahineh (Memphis), Egypt, 1915–1920 (29-84-482)

Object No.: DE.081

Ptah’s iconography is remarkably consistent across different object types and materials. While the god often stands in a shrine—frequently on a trapezoidal pedestal in the shape of a hieroglyph for maat—he can also be enthroned. His standard attributes are sometimes embellished, such as with the addition of feathers and wings to his shroud (a rare feature of the New Kingdom) or green skin (a feature of fertility deities).

See also: Relief of Ptah
Penn Museum—University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, The Eckley B. Coxe Jr. Expedition to Mit-Rahineh (Memphis), Egypt, Clarence Stanley Fisher, 1915 (E13579)

Cult image of Ptah
The Metropolitan Museum of Art, New York, Anne and John V. Hansen Egyptian Purchase Fund, 2007 (2007.24)

Text from: www.metmuseum.org/exhibitions/divine-egypt/exhibition-objects

Figurine of Ptah in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sun, 08 Feb 2026 00:28:47 +0000

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Statuette of Bastet Holding a Figure of Nefertum in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sun, 08 Feb 2026 00:30:58 +0000

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Title: Statuette of Bastet holding a figure of Nefertum

Period: Late Period–Ptolemaic Period

Date: 525–30 BCE

Medium: Faience

Dimensions: H. 11 × W. 5.3 × D. 3.4 cm (4 5/16 × 2 1/16 × 1 5/16 in.)

Credit Line: Gift of J. Pierpont Morgan, 1917

Object No.: 17.194.2214

In the Late Period, Bastet began to be depicted with the head of a domestic cat. This change might have resulted from the identification of Bastet as a gentler, more nurturing counterpart of Sakhmet. The cat-headed form typically wears a striped dress and holds a woven bag and cultic objects, like sistra, aegises, and statuettes. It was common for small figurines to be donated to temples or shrines in exchange for the goddess’s favor.

See also: Statuette of cat-headed Bastet holding a sistrum, an aegis, and a woven bag
The Metropolitan Museum of Art, New York, Rogers Fund, 1958 (58.67)

Text from: www.metmuseum.org/exhibitions/divine-egypt/exhibition-objects

Statuette of Bastet Holding a Figure of Nefertum in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sun, 08 Feb 2026 00:30:56 +0000

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Faience Statuette of a Nude Female Holding Monkeys in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sat, 07 Feb 2026 22:54:48 +0000

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Title: Nude female holding monkeys

Period: Third Intermediate Period

Date: ca. 1070–664 BCE

Medium: Pale blue faience

Dimensions: H. 20.7 × W. 8 × D. 3.3 cm (8 1/8 × 3 1/8 × 1 5/16 in.)

Credit Line: Purchase, Fletcher Fund and The Guide Foundation Inc. Gift, 1966

Object No.: 66.99.71

Small artworks from around 1000 to 300 BCE frequently allude to "the return of the Faraway Goddess." According to the tale, the Eye of Re—a lion-headed daughter of the sun god—withdrew in anger from Egypt to Nubia, upsetting Re and causing dire consequences for Egypt. In different versions, various deities lure the powerful goddess back to the valley with music, restoring the world to maat (rightness). Bastet is often the protagonist, so cats and kittens figure prominently in these artworks.

See also: Figurine of a monkey and man playing instruments
The Metropolitan Museum of Art, New York, Rogers Fund, 1944 (44.4.17)

Rattle with a Bes-image deity holding a baby and surrounded by monkeys
The Metropolitan Museum of Art, New York, Purchase, 2007 Benefit Fund, Lila Acheson Wallace and Diane Carol Brandt Gifts, 2015 (2015.11)

Ring with a cat and kittens
The Metropolitan Museum of Art, New York, Purchase, Patricia A. Cotti and Friends of Egyptian Art Gifts, 2017 (2017.34)

Figurine of a cat with kittens
The Metropolitan Museum of Art, New York, Rogers Fund, 1945 (45.2.2)

Text from: www.metmuseum.org/exhibitions/divine-egypt/exhibition-objects

Faience Statuette of a Nude Female Holding Monkeys in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sat, 07 Feb 2026 22:54:46 +0000

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Amulet of a Lion-headed Goddess Nursing a Child in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sat, 07 Feb 2026 23:54:43 +0000

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Amulet of a Lion-headed Goddess Nursing a Child in the Metropolitan Museum of Art, January 2026

nobody@ipernity.com (LaurieAnnie) — Sat, 07 Feb 2026 23:54:39 +0000

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Oryx Dish in the Brooklyn Museum, May 2011

nobody@ipernity.com (LaurieAnnie) — Sat, 14 Dec 2024 17:26:10 +0000

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Title: Oryx Dish

Date: ca. 1539–1292 B.C.E.

Dynasty: Dynasty 18

Period: New Kingdom

Geography: Place made: Egypt

Medium: Faience

Classification: Accessory

Dimensions: 2 13/16 × 4 13/16 × 13/16 in. (7.1 × 12.3 × 2 cm)

Credit Line: Gift of the Ernest Erickson Foundation, Inc.

Accession Number: 86.226.16

Object Label: Cosmetic Containers

Like us, the ancient Egyptians used cosmetics, and often for the same purposes.

Archaeologists use the term “cosmetic container” to describe a variety of Egyptian boxes that once held scented, oil-based ointments. The salves in these boxes were used by women and men to heighten sexual allure and to camouflage body odor. Orange or yellow stains seen on ancient representations of clothing and on actual surviving linen garments show how liberally such ointments were applied.

Text from: www.brooklynmuseum.org/objects/4260

Oryx Dish in the Brooklyn Museum, May 2011

nobody@ipernity.com (LaurieAnnie) — Sat, 14 Dec 2024 17:26:09 +0000

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French Serving Dish in the Metropolitan Museum of Art, January 2018

nobody@ipernity.com (LaurieAnnie) — Tue, 24 Oct 2023 15:48:19 +0000

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Title: Plateau

Date: ca. 1720

Culture: French, Rouen

Medium: Faience (tin-glazed earthenware)

Dimensions: Overall: 14 × 16 3/4 in. (35.6 × 42.5 cm)

Classification: Ceramics-Pottery

Credit Line: Gift of J. Pierpont Morgan, 1917

Accession Number: 17.190.1861

Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe.

While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved by the addition of tin oxide to the glaze. French faience is typically divided into two types. Grand feu (high fire) describes pieces that have been decorated with glaze and metallic oxides before being fired a single time at a high temperature of around 1650°F (900°C). Petit feu (low-fire) faience, developed in the second half of the eighteenth century, refers to a process whereby the clay body is fired before being glazed and decorated with metallic oxides and then fired again at a lower temperature; pieces can also go through a third firing. Grand feu pieces have a more limited color palette that consists of blue, yellow, brown-purple, and green. By contrast, the lower firing temperature of petit feu faience enabled both greater precision in painting techniques and variety in the range of colors.

Text from: www.metmuseum.org/art/collection/search/194349

Faience Plate from Hypogeum 223 in the Archaeological Museum of Madrid, October 2022

nobody@ipernity.com (LaurieAnnie) — Sun, 04 Dec 2022 16:03:01 +0000

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Palace Cinema

nobody@ipernity.com (tarboat) — Tue, 31 Jul 2018 06:39:58 +0000

tarboat has posted:

The original cinema on this site in Southall was the Paragon Palace of 1912 which was taken over by the United Picture Theatres Ltd. chain in around 1928, with the view to demolish it and build a brand new cinema.

Architect George Coles was appointed the circuit’s architect and UPT gave him the commission to design the first new cinema for the circuit (all the other cinemas were takeovers of older cinemas and theatres). The Palace Cinema was built in 1929 on an enlarged site of the former Paragon Palace Cinema, and it opened on 30th November 1929. Unfortunately, UPT overstretched their finances and the company were taken over by the Gaumont British Theatres Ltd. chain in April 1930 and they operated the Palace Cinema from July 1930.

The cinema’s style in the form of a Chinese temple is unique in Britain. Its exotic tiled exterior with a red pagoda roof complete with dragons have long made the cinema a well-loved local landmark. Inside the building, the Chinese style continues, but a little more restrained. The terracotta faience and decorative features are the work of the Hathern Station Brick and Terra Cotta Company. It is listed Grade II*.

After a number of owners and names it closed as the Liberty Cinema in 1982 and was converted to an indoor market. In 2001 it reopened as a three screen cinema but this failed in 2010 and was converted back to a market.

Two floors of wallpaper

nobody@ipernity.com (tarboat) — Thu, 24 May 2018 16:10:51 +0000

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Carpet centre on Mill Street in Crewe. The cream terracotta faience is unusual for the area. The building has a date of 1937 at the bottom of the black central rectangle. I wonder whether it was shops when built?

Faience Oinochoe with an Applique of Queen Berenike II in the Metropolitan Musuem of Art, June 2016

nobody@ipernity.com (LaurieAnnie) — Mon, 11 Dec 2017 20:16:01 +0000

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Faience Oinochoe with an Applique of Queen Berenike II in the Metropolitan Musuem of Art, June 2016

nobody@ipernity.com (LaurieAnnie) — Mon, 11 Dec 2017 20:15:56 +0000

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Hays Wharf faience panels

nobody@ipernity.com (Phil Sutters) — Wed, 08 Jul 2015 07:36:44 +0000

Phil Sutters has posted:

These are not the best quality images as they were taken at an angle from London Bridge, then straightened up. The distortion is most obvious in the elongated bay windows, where the left panels are considerably narrowed.