by Abraham Hadad

Apollo and Daphne Jakob Auer (ca. 1645 - 1706) Vienna, before 1688 Ivory In his Metamorphoses, Ovid tells of the nymph Daphne, who eluded the desires of the sun god Apollo by turning herself into a laurel tree (Greek daphne, laurel).The two-figure group depicts the beginning of this transformation. In travel reports from the Baroque period, this virtuoso piece of carving was already considered a major work of the Viennese imperial treasury.

René Magritte, Love from a distance

Stefano Cordeschi (via)

Miles Gertler, Islands. Three: Subtraction. 2013.

Frank Cadogan Cowper (1877-1958)Fair Rosamund and Eleanor, 1920

River with a distant tower, Camille Corot. Metropolitan Museum of Art, New-York.
Photo: cc https://www.flickr.com/photos/thomashawk/ https://creativecommons.org/licenses/by-nc/2.0/

(via (40) Pin by Yui M on costumes | Pinterest)


For Hers & His - Elizabeth Rose Thompson

(via sextathlon)


Gustave van de Woestyne (Belge, 1881-1947), La Tentation (temptation), 1925.

Gustave van de Woestyne - The pudding-eater (1911)

The present lot, painted in 1911, clearly shows the influence of the Flemish primitives and Italian quattrocento art. It is closely related to the portraits of the farmers both in subject matter and style, with the emphasis on the facial expression and the golden background reminiscent of icon painting. Van de Woestyne has placed his ‘Papeter’ against the golden background as the saint in an icon. Like the farmers, the ‘Papeter’ is part of Van de Woestyne’s “prolétariat caravagiesque où les visages burinés, surchargés de rides, de paysans ou de pêcheurs s’identifient à des têtes de saints et de martyrs.” (C. Collin, Gustave van de Woestyne, L’Art et l’esprit) The subject of the painting, a man at a table, might also refer to the Last Supper, a theme Van de Woestyne has represented more often.