The 2010 series is differentiated from the many other plaquettes by the number 2010 and item number on the back. Plaquettes without the 2010 number has also been produced, but the series with the 2010 number on the back are predominantly a series of tourist plaquettes with Danish sights. The plates were very popular as souvenirs or gifts for family abroad.
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One of his first tasks was to rearrange the collection of Italian sculpture and start the large Catalogue of Italian Plaquettes, which was published many years later in 1924.
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But his artistic career was severally influenced by two injuries: he lost his legs in a tramcar accident and an accident during sculpting. Reduced mobility encouraged him to design small objects — medals and plaquettes. His first designs were presented at "Leningrad" zonal art exhibition in 1964 and brought him professional recognition. Throughout the following years he designed over 100 medals and plaquettes devoted to notable historical events, workers of culture and science.
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In 1878 Oscar Roty married Marie Boulanger, daughter of the wrought iron craftsman Pierre Boulanger. Besides a huge number of medals and plaquettes, Roty is well known as the designer of the “Semeuse” image on French silver coins and stamps. His medallic art can be found in nearly all European museums. A large number of his medals and plaquettes can be viewed in the Kunsthalle Hamburg and the Musée Oscar Roty in Jargeau, France.
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Hat badges were often worn in conjunction with a decorative sword and hilt. Hat badges were fashioned after plaquettes and often depicted a scene with personal relevance to the wearer.
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Royal Copenhagen 2010 plaquettes are a series of small, collectible plates produced by Danish factories, Aluminia and Royal Copenhagen. The numbered and named series of 3-1/4” (80 mm) faience miniplates or "plaquettes" are generally round, though a few are square. The most common colors are moderate to deep blue on a white background, though some have additional colors. On the front, each has a scene depicting boats, landscapes, people, animals, steeples, buildings, statues, bridges, windmills, and more.
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Plaques or, more often, plaquettes, are also given as awards instead of trophies or ribbons. Such plaques usually bear text describing the reason for the award and, often, the date of the award.
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Grove, 222 At the smaller end they overlap with medals, and at the larger they begin to be called plaques. The form began in the 1440s in Italy, but spread across Europe in the next century, especially to France, Germany and the Low Countries. By about 1550 it had fallen from fashion in Italy, but French plaquettes were entering their best period, and there and in Germany they continued to be popular into the 17th century. The form continued to be made at a low level, with something of a revival from about 1850.Grove, 220–223 They have always been closely related to the medal, and many awards today are in the form of plaquettes, but plaquettes were less restricted in their subject-matter than the medal, and allowed the artist more freedom.
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The word plaquette is a 19th-century invention by the French art historian Eugene Piot. Les Bronzes de la Renaissance. Les Plaquettes by Émile Molinier of 1886 was the first large study, and these two between them defined the form as it is understood today.Warren, 833 To Renaissance Italians plaquettes were known, along with other similar types of objects, by a variety of somewhat vague terms such as piastra and medaglietti,Grove, 220; Syson and Thornton, 117 rilievi,Syson and Thornton, 117 ("reliefs") or modelli.
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Wilson, 114 Castings of many of the crystal carvings were taken in wax and them used to make metal plaquettes, which Belli also designed and made de novo. He was described as a goldsmith, though no surviving works are known, and had some role at the Papal mint, though no coins are clearly attributable to him.Melville-Jones; Wilson, 114–116 Born in Vicenza, he was also active in Rome, his most important period, and Venice before returning to his native city in later life. In metal he designed many portrait medals and plaquettes, including copies of his works in crystal.
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Can be cited: “Manual of legends” and "The Crying of Charon", the book of poems: “Theocracy” and "Verses from Shadows", and plaquettes: “The Muse and the Warrior”, one of whose characters is named after his pseudonym Aspatos, "The Song of the Lady" and "Bruma".
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Often plaquettes with copies in precious metal also exist in bronze copies.Grove, 220–223 In early 16th-century Nuremberg, which was the main German centre,Grove, 222 plaquettes, like other metalwork types of objects, were often made in the relatively plebeian material of brass, even by top artists like the Vischer family and Peter Flötner."Gothic and Renaissance Art in Nuremberg, 1300–1550", pp. 75–76; #s 193, 194, 204, 205, 254–257, 261, 1986, Metropolitan Museum of Art (New York, N.Y.), Germanisches Nationalmuseum Nürnberg, , 9780870994661, google books Lead was also used, especially in German castings intended as artisan's models rather than for collectors.
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Ludwig Gies, cast iron, 8 x 9.8 cm, inscribed "1914·VERTRIEBEN·1915" = "Refugees 1914–1915" The form saw a small revival in the 19th century; examples from this period are typically rather larger than in the Renaissance. Artists such as, in America, Augustus Saint-Gaudens and Emil Fuchs made commemorative portrait plaquettes of figures such as Leo Tolstoy and Mark Twain (both by Saint-Gaudens).Gardner, Albert Ten Eyck, American Sculpture: A Catalogue of the Collection of the Metropolitan Museum of Art, pp. 92–94, 1965, Metropolitan Museum of Art (New York, N.Y.) Especially in France and Germany, commemorative plaquettes for industry and institutions involved a wide range of contemporary subject matter.
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These graves were dug deep and damaged some of the earlier layers. They included mostly the skeletons of adults. In one of the graves, a silver crusader coin attributed to Amaury I of Jerusalem (AD 1162-1174). The grave included three glass plaquettes, probably used as superstitious or magical items.
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La Garma is notable for its rich repository of Magdalenian portable art found in The Lower Gallery. The most outstanding artefact is a backward-facing ibex depiction carved onto a bovine rib spatula. Other portable art elements found at the cave complex include perforated batons, , decorated stone plaquettes, and undecorated pendants.
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An example of a signed Diehl binding, the Sonnets of Michael Angelo Buonarroti as described in The Sun article cited, is available at The New York Public Library, Spencer Collection."The sonnets of Michael Angelo Buonarroti", New York Public Library. Examples of plaquettes and designs are available at the Morgan Library & Museum.
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She got her flat glass boards from Belgium. She also dealt with interior decoration: she designed and produced furniture. She had great success not only with her figural panneau, but with her plaquettes, decorated with abstract animals. In 1937, the city of Paris bought her plaquette called The Hunting (La Chasse) and an engraved vase.
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Low countries, c 1610, Diana and Actaeon, in lead Many major museums have collections, which are not always given room in the gallery displays. The National Gallery of Art in Washington D.C., despite being essentially a collection of paintings, has what is recognised as the finest single collection, especially of Italian Renaissance work, which includes over 450 plaquettes,Wilson, 6 and is very well displayed on the ground floor.Grove, 220; Wilson is the handbook for this collection The Washington collection of medals, plaquettes and small bronzes includes the leading French collection assembled by Gustave Dreyfus (1837–1914), which was bought by Samuel H. Kress (1863–1955). In 1945 the Kress Foundation added over 1,300 bronzes collected by the British art dealer Lord Duveen, and donated all its collection to the museum in 1957.
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Medal of the Emperor John VIII Palaiologos during his visit to Florence, by Pisanello (1438). This was the first portrait medal. The legend reads, in Greek: "John the Palaiologos, basileus and autokrator of the Romans". A medallist (British English) or medalist (American English) is an artist who designs medals, plaquettes, badges, coins and similar small works in relief in metal.
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Retrieved 26 November 2014. was a sculptor who was widely known for his statuary and plaquettes but recognized foremost for his designs of coinage and commemorative medals. Among his best known designs are the obverse (front) and reverse of the United States quarter dollar featuring the profile of George Washington, a coin that has been in continuous circulation with some modifications since 1932.
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Artistic medals and plaquettes have mostly been produced by lost wax casting. The design for the coin faces were originally engraved into the coin dies. It was necessary to use a burin to engrave the designs directly into the die inverted (i.e. raised areas of finished coin were hollowed out on the die) and as a mirror image so that the finished coin appeared correct.
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Engraved plaquette with bird image from Ein Qashish South, Jezreel Valley, Israel, Kebaran and Geometric Kebaran ca. 23,000-16,500 BP) Evidence for symbolic behavior of Late Pleistocene foragers in the Levant has been found in engraved limestone plaquettes from the Epipaleolithic open-air site Ein Qashish South in the Jezreel Valley, Israel. The engravings were uncovered in Kebaran and Geometric Kebaran deposits (ca. 23,000 and ca.
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Also related are plaques and plaquettes, which may be commemorative, but especially in the Renaissance and Mannerist periods were often made for purely decorative purposes, with often crowded scenes from religious, historical or mythological sources. While usually metal, table medals have been issued in wood, plastic, fibre, and other compositions. The US Government awards gold medals on important occasions, with bronze copies available for public sale.
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The particular manner in which art is studied at MONREPOS is characterised by a contextualised approach that aims to understand the principles and rules behind patterns in design and production. The plaquettes are currently part of a detailed 3-D analysis.A. Güth: New scientific findings confirming "The Oldest Representation of Childbirth". A 3D-Re-Vision of an engraved slate plaquette from the Magdalenian site of Gönnersdorf (Neuwied/Rhineland).
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From the 19th century the education of a medalist often began with as an engraver, or a formal education in an academy, particularly modeling and portraiture. On coins a mark or symbol signifying the medalist as the original designer was often included in a hidden location on the coin and is not to be mistaken for the symbol of the mint master. Artistic medals and plaquettes are often signed prominently by the artist.
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The analytic-integrative approach to Palaeolithic art is another defining feature of work at Monrepos that was developed coinciding with the discovery and investigation of the famous engraved Magdalenian slate plaquettes from Gönnersdorf through Gerhard Bosinski. It was thus possible to conclusively demonstrate that art was a major component in the Palaeolithic of Central Europe and “type Gönnersdorf” figurines represent a major category in art studies.Die Kunst der Eiszeit in Deutschland und in der Schweiz. Habelt, Bonn 1982, .
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After returning to Budapest he continued to work for Telcs, then in 1911 he did a field trip to Florence. Shortly he moved to the recently opened Százados Street Estate of artists, where he owned studio. His statues (Eva, 1909; Gladiator), medals and plaquettes (Meat Industry Fair, 1907; Dezső Szilágyi, 1908; Exhibition on Accident Prevention, 1910) are fitting to the moderate trend of the Hungarian Art Nouveau. Juhász died on January 6, 1913 in Újpest, a district of Budapest.
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From the 1930s he became well known for his expressionist sculpture, creating plaquettes of Árpád Tóth, Bartók, Móricz, and Thomas Mann. Between 1945 and 1955 he was hired to sculpt figures for display in various towns and cities. Settling permanently in Paris in 1956, in 1963 his lyrical works were exhibited at the Galerie Lambert. In 1947 Beck was appointed the president of the Trade Union of Hungarian Artists, subsequently leaving for Paris, where in 1948 he became teacher of the Art School.
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Some also have a date on the outside edge. A variety of artists have provided the detailed artwork, including Kai Lange, Jørgen Nielsen, and Sven Vestergaard (1932-). On the back, each plaquette has two pierced holes so the plaquettes can be hung for display. In addition to the number 2010, most (though not all) have an identification number, along with a description (usually in Danish, all capital letters) of the front scene. Some have the words “ROYAL COPENHAGEN DENMARK FAJENCE”, or just ‘DENMARK”.
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The series includes a large selection of Danish castles and churches as well as other attractions. Earl Nelson Newman wrote and privately printed a small hard-cover book in 1973 entitled "The Danish Royal Copenhagen Plaquettes: 2010 Series". This book contains pictures and descriptions of plates #1-#85, and the special series featuring American Presidents, zoo animals, and antique autos. Because there was nearly no information/literatur about the "2010" Series,Carsten Pedersen (a collector himself) wrote a collector's catalogue in 2010.
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Traditionally medals are stamped with dies on a durable metal flan or planchet, or cast from a mould. The imagery, which usually includes lettering, is typically in low relief, albeit often higher than on coins: Limited-edition medals may be struck in repeated impacts allowing more metal displacement than in coins produced for mass circulation in a single impact. Circular medals are most common; rectangular medals are often known as plaquettes. The "decoration" types often use other shapes, especially crosses and stars.
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The cabinet of curiosities was an important mixed form of collection, including art and what we would now call natural history or scientific collections. These were formed by royalty but smaller ones also by merchants and scholars. The tastes and habits of collectors have played a very important part in determining what art was produced, providing the demand that artists supply. Many types of objects, such as medals, engravings, small plaquettes, modern engraved gems and bronze statuettes were essentially made for the collector's market.
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The history of discoveries at Roc-aux-Sorciers begins in 1927, when Lucien Rousseau discovered the Paleolithic habitation and identified it as mid-Magdalenian in its culture. He began excavations in the Cave Taillebourg and recovered an engraved stone in which Henri Breuil detected the representation of a mammoth.Rousseau 1933. Some years later, Suzanne de Saint-Mathurin became aware of Rousseau's article and decided to explore further, hoping to find some incised plaquettes like those from the cave at Lussac-les-Châteaux, also in Vienne.
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French Gothic diptych, 25 cm (9.8 in) high, with crowded scenes from the Life of Christ, c. 1350–1365 Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
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The presence of elite warriors can be documented by spurs, chain armors, gold-plated parts of military equipment, gold-coated and silver-coated adornments and other luxury objects. The religious articles belong to the oldest Christian articles in Slovakia. The most important findings are a bronze bell of Canino type, fragments of other three bells and six gold-coated plaquettes with angels and Christ dated to 780-820, dozen years before the mission of Saints Cyril and Methodius. Two short inscriptions in Latin alphabet are the oldest evidence of writing in the Slovak history.
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Koroluck's medals and plaquettes were presented on numerous Soviet and international exhibitions including FIDEM congresses in Prague (1970), Kraków (1975), Budapest (1977), London (1992), Neuchâtel (1996) and Berlin (2000). The medal designed for Pasteur Institute received high praise from Monnaie de Paris in 1972 and was sent to Soviet space station Salyut 7 ten years later with an international crew of Soviet and French cosmonauts. As a respected medallist Koroluck taught younger artists and worked on the community of medallists and collectors. In recognition of his contribution he was unanimously elected as president of Leningrad medal club, created in 1990.
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A further development showed itself in the production of portrait medals in bronze, which reached a high degree of perfection and engaged the attention of many celebrated artists. Bronze plaquettes for the decoration of large objects exhibit a fine sense of design and composition. Of smaller objects, for church and domestic use, the number was legion. Among the former may be mentioned crucifixes, shrines, altar and paschal candlesticks, such as the elaborate examples at the Certosa of Pavia; for secular use, mortars, inkstands, candlesticks and a large number of splendid door-knockers and handles, all executed with consummate skill and perfection of finish.
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On 30 May 1995 a plaquette was installed on a wall of an atrium that leads to Østbanehallen (from Jernbanetorget in Oslo), listing employees of the State Railways [whereof at least two were "Osvald members"] who died during World War II. In 2015 the plaquette was moved onto the base of the monument located at Jernbanetorget in Oslo. Other plaquettes are at other places in Norway. On 29 April 2015 a monument was installed at Jernbanetorget,Her kommer det omstridte Osvald-monumentet til Jernbanetorget and unveiled on 1 May. The monument—["crush nazism"] Knus nasismenOmstridt monument på plass 1.
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Allegorical Triumph of Giovanni Andrea Doria, Leone Leoni, 1541–42 As with medals, Renaissance plaquettes were normally made using the lost wax technique of casting, and numbers of copies were presumably normally made, although many now only survive in a unique copy, and perhaps never had others. The quality of individual castings can vary considerably, and the time and locations of individual castings from the same mould my vary considerably. Some designs can be shown to have had different generations of casts made from casts. Most are in bronze, but silver and gold, in solid or plated and gilded forms, are also found, as well as other metals.
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Zoomorphic pictogram on stone slab from the MSA of Apollo 11 Cave The oldest known figurative art from Sub-Saharan Africa are seven stone plaquettes painted with figures of animals found at the Apollo 11 Cave complex in Namibia, and dated to between 27,500 and 22,500 years ago.Coulson, pp. 76–77 There is a substantial amount of rock art attributable to the Bushmen (San) found throughout Southern Africa. Much of this art is recent (as evident from the subject matter depicted, including depictions of wagons and of white settlers wearing hats), but the oldest samples have been tentatively dated to as early as 26,000 years ago.
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300px The Memorial Plaque was issued after the First World War to the next-of- kin of all British and Empire service personnel who were killed as a result of the war. The plaques (which could be described as large plaquettes) about 4.75 inches (120 mm) in diameter, were cast in bronze, and came to be known as the "Dead Man’s Penny", because of the similarity in appearance to the much smaller penny coin which itself had a diameter of only 1.215 inches (30.9 mm). 1,355,000 plaques were issued, which used a total of 450 tons of bronze, and continued to be issued into the 1930s to commemorate people who died as a consequence of the war.
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15th-century miniature The story of the redoubtable Horatius at the Bridge began to be depicted in art during the Renaissance, but was never an especially popular theme. It tended to be shown by artists who favored recondite classical stories, and appear in the minor arts, such as plaquettes and maiolica. Napoleon, after the battle of Klausen, nicknamed General Thomas-Alexandre Dumas "The Horatius Cocles of Tyrol" for his solo defense of a bridge over the River Eisack. The story of "Horatius at the Bridge" is retold in verse in the poem "Horatius" in Lays of Ancient Rome by Thomas Babington Macaulay, which enjoyed great popularity in the late nineteenth and early twentieth century.
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Joseph E. Widener had already given the museum a significant collection in 1942.Wilson, 6 The Wallace Collection in London has a good smaller display, as do the Victoria and Albert Museum, the Cabinet des médailles, Paris, the Hermitage Museum, the Ashmolean in Oxford, and a number of German museums, although the outstanding Berlin collection was lost in World War II.Bober, 593 Not much of the British Museum's important collection is on display, nor that of the Vatican Museums. The Bargello in Florence has some 400 plaquettes, about half from the collection of the Medici family, who played an important role in the development of the form. Most of the rest are from the collection of Louis Carrand, who bequeathed it to Florence.
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Compositions can often be shown to be borrowed from another medium, such as prints or bronze plaquettes,Bull, 39; see for example the British Museum page on their box illustrated here, where one element is copied from a bronze; Campbell, 194 and sections from the same mould can be found repeated, and used on more than one piece. The Victoria and Albert Museum has an armorial casket which is the only example that can be fairly closely dated, using the career of its owner, Cardinal Bernardo Clesio, as it must date to between his elevation as cardinal in 1530 and his resignation as Prince-bishop of Trent in 1538.V&A; Museum De Winter catalogued 115 white lead pastiglia caskets, only ten of which were over 20 cm high or deep. Another of this relatively large type was sold at auction in 2010.
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Leoni then attacked Pellegrino and was condemned to lose his right hand, a sentence commuted after the intercession of powerful friends to slavery in the galleys, from which the entreaties of Andrea Doria released him after a year: Leoni produced three plaquettes and five medals of Andrea Doria as tokens of his gratitude.Trevor- Roper op cit p. 30.; British Museum: Cast bronze medal of Andrea Doria ; see also Louvre and National Gallery of Art, Washington;plaquette now in the British Museum The Casa degli Omenoni that Leoni designed for himself, engraving from Serviliano's Descrizione di Milano, 1738. Once freed from the galleys, he "continued his alternation of criminal violence and exquisite workmanship"Trevor-Roper, op cit p. 31. moving to Milan to take up an Imperial appointment as master of the mint there, from 20 February 1542, at 150 ducats a year and the gift of a house in the Moroni district of Milan. Leoni's house in Milan, rebuilt 1565-67, was immediately called the Casa degli Omenoni for its heroically-scaled herm figures and bearded atlantes, a rarity in Milan at the time; it is indicative of his social success.
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