"Were you admiring my beads?"

wehadfacesthen:

Ania Ekberg, 1960, on the set of La Dolce Vita, Rome

wehadfacesthen:

Ania Ekberg, 1960, on the set of La Dolce Vita, Rome

design-is-fine:

Jean-Marie Reignier, Tailpiece for the Bonvin album, 1867. France. Walters Art Museum, Baltimore.
Léon Bonvin’s work was confined to a small circle of collectors, most prominent among them William T. Walters … He displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school. 

design-is-fine:

Jean-Marie Reignier, Tailpiece for the Bonvin album, 1867. France. Walters Art Museum, Baltimore.

Léon Bonvin’s work was confined to a small circle of collectors, most prominent among them William T. Walters … He displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school. 

(Source: Wikipedia)

blastedheath:

Nicolai Wassilieff (Russian, 1901-1977), Dame in Rot vor russischer Küstensiedlung [Lady in red in a Russian coastal settlement], 1927. Oil on canvas, 85.5 x 65.5 cm.

blastedheath:

Nicolai Wassilieff (Russian, 1901-1977), Dame in Rot vor russischer Küstensiedlung [Lady in red in a Russian coastal settlement], 1927. Oil on canvas, 85.5 x 65.5 cm.

blastedheath:

Ödön Márffy (Hungarian, 1878-1959), Balaton. Oil on canvas, 75.5 x 89.5 cm. Magyar Nemzeti Bank.

blastedheath:

Ödön Márffy (Hungarian, 1878-1959), Balaton. Oil on canvas, 75.5 x 89.5 cm. Magyar Nemzeti Bank.

hipinuff:

Henri Provensal (French: 1868-1934), The tomb of a poet, 1901. Musée d’Orsay, Paris.

hipinuff:

Henri Provensal (French: 1868-1934), The tomb of a poet, 1901. Musée d’Orsay, Paris.

(via blastedheath)