Horse Decorations For The Home

horse decorations for the home

  • A thing that serves as an ornament

  • Ornamentation

  • (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"

  • (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"

  • The process or art of decorating or adorning something

  • (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"

  • Provide (a person or vehicle) with a horse or horses

  • provide with a horse or horses

  • solid-hoofed herbivorous quadruped domesticated since prehistoric times

  • a padded gymnastic apparatus on legs

  • Relating to one's own country and its domestic affairs

  • home(a): used of your own ground; "a home game"

  • Of or relating to the place where one lives

  • Made, done, or intended for use in the place where one lives

  • at or to or in the direction of one's home or family; "He stays home on weekends"; "after the game the children brought friends home for supper"; "I'll be home tomorrow"; "came riding home in style"; "I hope you will come home for Christmas"; "I'll take her home"; "don't forget to write home"

  • provide with, or send to, a home

Peter Wright (1919-2003) Studio Pottery Horse

Peter Wright (1919-2003) Studio Pottery Horse

The Guardian, Monday 25 August 2003
Obituary of Peter Wright
Ceramic artist whose desire was to create a domestic antidote to an increasingly technological world - By David Whiting

Peter Wright, who has died aged 83, was a versatile and original ceramic artist. He never regarded himself as a potter as such; clay enabled him to move beyond the more functional concerns of many of his contemporaries. He looked outside ceramics to a broader artistic avant-garde as he became increasingly sculptural in his concerns. His medium gave him considerable scope to explore, as he moved from tablewares to abstraction and finally to
figuration in his attempt to make his material "sacred again".

Wright was born in Hitchin, Hertfordshire. He was brought up in Enfield, north London, and after war service in the army attended Hornsey College of Art from 1946 to 1950. Here he studied graphics, but also discovered the allure of clay. In 1957 he went to teach art at Sutton Coldfield college of further education, where he was obliged to also take ceramics classes. A crash course of self-tuition refocused his interest in the material and its possibilities. He realised how he could integrate his graphic skills with a three-dimensional form and was attracted to a discipline with its own seductive alchemy and processes.

In 1954 he settled down with his wife Sheila at Monkton Combe near Bath - in the midst of a beautiful valley that was to influence his forms and decoration. Wright scraped by through producing well-designed domestic ware, but also ambitious press-moulded tin glaze pieces that reflected the structure of the surrounding landscape. These works reflected the sculptural aspirations of the ceramists associated with the Central School and Institute of Education in London - such as William Newland and James Tower. Wright's work shared their stylistic debt not only to early Mediterranean pottery but to progressive continental art, and the vibrant ceramics being made by Picasso at Vallauris.

Successful with this work, Wright exhibited at venues like the British Crafts Centre, the Design Centre and, in 1957, at the Victoria and Albert Museum. By the end of the decade he was making more totemic forms, simply glazed and with incised or applied relief decoration.
Combining techniques of throwing, press moulding and handbuilding, these had affiliations with potters as diverse as Hans Coper and Gordon Baldwin. Yet, despite his admiration for Minoan and Cycladic pottery, Wright distanced himself from most contemporary ceramics and looked to a broader picture - to medieval art, African sculpture and artists such as Chagall and Morandi.

In 1957 he began teaching at Bath Academy of Art and then at the college of education. Quietly passionate, Wright made a great impact as a teacher, but resented the collegiate bureaucracy, which was a distraction from his own work. In 1963, the Wrights moved to Bath, while Peter continued to produce pieces at Monkton Combe.

He remained preoccupied with the symbolism of the vessel until the mid-1960s when, frustrated by creative stasis, he moved in a more sculptural direction. He made inventive abstract pieces, notably in porcelain, comparable to the preternatural biomorphic shapes of the potter Ruth Duckworth and the totemism of sculptors like William Turnbull and Kenneth Armitage. His underlying themes dealt now with some of the paradoxes of human experience: issues of unity and integration, separation and release.

In 1967 he moved his studio to Gloucester Street, Bath, where, after separation from his wife, he also made his home. He had a run of successful exhibitions there and abroad and his work was acquired by several museums, but Wright regarded such attention as a burden. He was distrustful of art world "hype" and had no interest in promoting his reputation.

By the late 1970s, though still making some pots and producing relief pieces, his activity centred on the small figurative interlocking sculptures for which he is best known. Superbly modelled, many were made in slipcast porcelain editions and had an abstractly archetypal quality reminiscent of Henry Moore and the domestic intimacy of early Staffordshire figures.
What meant most to Wright was that his art might have a lasting life in people's homes, an antidote, he hoped, to an increasingly technological world. As the retrospective exhibition that has just opened at the Bristol Guild Gallery demonstrates, he succeeded in this quest.

He is survived by his son.

· Peter Wright, potter and sculptor, born December 30 1919, died June 20 2003

"Modes of Transport by Land" Mural by Napier Waller - Myer Emporium Mural Hall, Bourke Street, Melbourne

"Modes of Transport by Land" Mural by Napier Waller - Myer Emporium Mural Hall, Bourke Street, Melbourne

In 1931 Sidney Myer (1878 – 1934) Russian emigre turned Melbourne businessman and philanthropist decided to reinvigorate his store the Myer Emporium by redeveloping his flagship Bourke Street store at 314-336 Bourke Street. Part of this included a new facade in the prevailing interwar style of the time – Art Deco and the addition of several more floors to what was already a very large department store. On the sixth floor a chic European style ballroom with soaring ceilings, sweeping stairs and parquet flooring was planned for use by the emporium’s patrons as a dining room by day and in which Myer could host Parisian fashion shows and hold exclusive Melbourne society events by night. The Myer Mural Hall, so called because of an impressive collection of ten murals by Australian artist Napier Waller, was the realisation of Sidney Myer’s dream.

The Mural Hall, a dining hall suitable for a sitting for one thousand people and a venue for fashion parades and performances, was completed in 1933 as part of the sixth floor which was set aside for dining. It is a large rectangular space with a decorative plaster ceiling and balconies and wall panels in a Streamline Moderne style. However, it is the decoration of ten murals by renowned artist Napier Waller (1893-1972) that are the Mural Hall’s claim to fame. The murals took a little over a year to complete and were painted at Napier Waller’s home at Fairy Hills in Ivanhoe before being transported to the department store where they were hung. Completed in 1934, just after Sidney Myer’s death, eight of the murals are almost floor to ceiling, whilst the remaining two are located over the two side entrances. All pay homage to the seasons and to women and their achievements through history in the areas of art, opera, literature, dance, sport and fashion.

The western wall features a mural "Modes of Transport by Land". It features: a royal Elizabethan progress; an 17th Century coach-and-six; a daring robbery by the infamous English highwayman, Dick Turpin (1705 – 1739); an 18th Century sedan chair; an early 19th Century mail coach to London; a horse and trap; a London hansom cab; a Victorian brougham; a Victorian landau; a perambulator; and a very up-to-date 1930s motorcar.

Napier Waller (1893 – 1972) was a noted Australian muralist, mosaicist and painter. He served in France from 1916, being so seriously wounded at Bullecourt that he lost his right arm. He was right-handed but learned to use his left hand while recuperating. Back in Australia, he established his reputation by exhibiting more paintings. He is perhaps best known for the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra, completed in 1958. However, Melbourne has been described as "a gallery of Napier Waller’s work". Pieces of Napier Waller’s works may be found in the Melbourne Town Hall (1927), the State Library of Victoria (1928), the T & G Life Building (1929), Newspaper House (1933), Florentino’s Restaurant (1934), the Wesley Church (1935) and the University of Melbourne (1940) as well as the Myer Mural Hall.

horse decorations for the home

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