Wild Silver!

How do you feel about another museum trip?

The Huntsville Museum of Art Buccellati: A Silver Menagerie is another must-see exhibit, and since you can’t be here, I’m bringing some of the pieces to you. I have fewer photographs than I had for last week’s visit showing of the American Studio Glass Exhibit, but the pieces are just as fascinating.

The exhibit features selections from the Museum’s permanent collection of  silver creations designed and fabricated in Italy by the luxury jewelry firm of Buccellati. They were donated by Betty Grisham of Huntsville, Alabama. According to the museum’s website, the Huntsville Museum of Art holds the world’s largest public collection of these unique works of art.

Each piece was designed by Italian jeweler, Gianmaria Buccellati.

Lion, 2000. 925 Sterling.

The present house of Buccellati was founded in 1919 in Milan, Italy and originated what is known as the Buccellati style, which combines Renaissance period techniques, luxury materials, and the extensive use of texture engraving to create objects of great beauty. This distinctive style won favor with a discriminating international clientele, including the Vatican as well as the Royal Houses of Italy, Spain, Belgium, England and Egypt. —Huntsville Museum of Art

Bear, 1997. 925 Sterling.

Gianmaria Buccellati carries on the family tradition today as an internationally renowned silversmith.  He has dedicated his life to creating extraordinary objects that exemplify fine Italian craftsmanship.  –Huntsville Museum of Art

Bear, 1997. 925 Sterling.

His signature silver animals replicate creatures from earth, sea, and sky in a highly realistic manner. Buccellati invented a new method of working in silver to capture fine detail like feathers, hair, or different types of skin, known as “lavorazione a pelo” or “hair-like workmanship.” —Huntsville Museum of Art

Giraffe, 1994. 800 Silver.

An animal reproduced “a pelo” is the result of welding countless silver filaments of varying length and thickness to give the actual appearance of the natural coat. It is a demanding method that requires the highest level of skill and an absolute mastery of soldering techniques. —Huntsville Museum of Art

Tortoise, 2006. 925 Silver.

Animals with the hair-like workmanship were originally produced in 800 silver, which is stronger but less pure than 925 sterling due to its higher alloy content. This was because the intense heat of soldering used in the creation of the animals would have melted the very thin filaments if they were sterling, but the Buccellati artisans were able to invent a new technique of soldering that allowed them to work within the heat tolerance of sterling silver. As a result, all animals produced since 1995 have been created in 925 sterling.  –Huntsville Museum of Art

Swan, 2000. 925 Silver.

Swan, 2000. 925 Silver.

Marine Centerpiece, 1997. 925 Sterling. Amethyst Geode.

I somehow missed photographing the flamingo, which, like the giraffe, is considered a highlight of the collection, but you can see it here on Flickr. [Tip: If you move backwards or forwards in the Flickr album, you’ll see other animals I did not photograph].

My favorites–you guessed it–are the lion and the bear. I just can’t wrap my mind around the exquisite crafting of the hair and fur! The giraffe is über cute and I’m intrigued by the sea creatures. The whole collection is mesmerizing–which is probably why I missed photographing some of the animals.

Do you have a favorite?

Blown Glass and Reflections

Since we are [hopefully] still “sheltering-in-place,” this [not so] #WordlessWednesday is a good time for a museum visit, so I’m sharing some shots from a trip to the Huntsville Museum of Art last summer.

I shared a few photographs from the A New Moon Rises exhibit and a photograph of Breathing from the American Studio Glass exhibit late last year.

Today, we’ll explore more pieces from the American Studio Glass exhibit which is on continuous view at the Huntsville Museum of Art.

Two galleries in the Davidson Wing provide the Museum a showcase for its outstanding holding of American Studio Glass. The collection was initiated in 1995 with the purchase of Cam Langley’s Three Flower Vase, and has grown to nearly four-dozen pieces. Several of the movement’s icons are represented in the collection, as well as nationally and regionally significant voices. The Collection encompasses a wide range of different techniques, including blowing, flame working, casting, and carving. Also included are works combining glass with other materials such as wood, rope, paint, gold and silver leaf, and manipulated imagery. The Museum is pleased to highlight the creativity and variety of the American Studio Glass movement with this exhibit.  –from Huntsville Museum of Art website.

The pieces, primarily made of glass, are all so fascinating that it was difficult to leave the gallery and nearly impossible to pick a favorite.

Keep in mind that I was photographing glass through glass, so obviously, there are a lot of reflections in the photos. Even though you can’t see the pure elegance of each piece, the reflections add a bit of interest to the photos.

Stephen Rolfe Powell (b. 1951, Birmingham, Alabama/d. 2019, Danville, KY). Bodacious Gasp Johnson, 1994.

Blown glass, 30x24x6 inches. Museum purchase in memory of Elinor “Nell” Francis, Paula Frederick, Jewel Halsey, Lieutenant Colonel LeRoy F. Lawson, Kay Ludwig, Loretta G. Och, Leonard Walker Peeler, Dorris Weems, Robert Wiggins, and Helen Yager.

Mary Van Cline (b. 1954, Dallas, TX/lives in Seattle, WA). The Healing Winds of Time, 1997. Photosensitive glass, cast black glass, copper patina.

John Littleton and Kate Vogel (JL b. 1957, Madison, WI; KV b. 1956, Cambridge, England/live in Bakersville, NC). Light Vessel, 2008.

John’s hands cast in amber glass, holding cut disk, interior red, ruby gold leaf with gold ring mica, purple ring and fiberglass painted with glass enamel. Museum purchase, funds provided by Alice Chang.

Thomas Farbanish (b. 1963, Endicott, NY/lives in Bellefonte, PA). Untitled, 1995. Blown glass, acid etched.

Dale Chihuly (b. 1941, Tacoma, WA/lives in Seattle, WA). Imperial Iris Persian Set with Chartreuse Lip, 1999. Blow glass (editioned).  Gift of Alice Chang in honor of Peter J. Baldaia.

Dale Chihuly (b. 1941, Tacoma, WA/lives in Seattle, WA). Red Amber Persian Pair, 2010. Blow glass (editioned).  Gift of Alice Chang in honor of David J. Reyes.

Dante Marioni (b. 1964, Mill Valley, CA/lives in Seattle, WA). Orange Trio, 1996. Blown glass.

Museum purchase, Gala Acquisition Fund.

Ginny Ruffner (b. Atlanta, GA/lives in Seattle, WA). Dancing Box, 2007.

Stainless steel and glass.

Gift of the artist in honor of the Women’s Guild of the Huntsville Museum of Art.

Cappy Thompson (b. 1952, Alexandria, VA/lives in Olympia, WA). Riding Fearless into the Future, 1994. Vitreous enamels on blown glass.

Museum purchase in memory of Harry Rhett, Jr.

Judith LaScola (b. 1955, Pittsburgh, PA/lives in Stamwood, WA). Slumped Series with Winter Bowl, 1996.

Blown, carved, and painted glass, gold leaf. Gift of Alice Chang.

Judith LaScola (b. 1955, Pittsburgh, PA/lives in Stamwood, WA). Yen Series/Gold and Midnight Blue, 1996.

Blown, carved, and painted glass, gold leaf.

Museum purchase, funds provided by Al and Marcy Haraway, the Boeing Company, and the Gala Acquisition Fund.

That’s it for my little taste of the collection. If you want to learn more about the collection, do visit the Huntsville Museum of Arts website.

Summer is always a good time to catch up on museums and galleries, and that doesn’t have to change because COVID-19 has forced museums worldwide to close. Many, many museums are offering virtual museum tours. Search using your favorite search engine or begin with the list of 75 museums offering virtual tours I stumbled on earlier today. That should fill your artsy cup to the brim.

Until next time…

Sunflowers in the Cosmos!

When I viewed the A New Moon Rises: Views from the Lunar Reconnaissance Orbiter Camera exhibit at the Huntsville Museum of Art in June, I was literally “over the moon” to find sunflowers on the moon!

What? You didn’t know there were sunflowers on the moon? Well, there are!

I shared photos from the exhibit in July, but withheld photographs of one of the craters because, although I didn’t have a date in mind, I knew I wanted to share the crater during “Sunflower Week.”

A Very Young Crater

Obviously, this is not really a sunflower; it is actually a “very young crater.” This is one of the images captured with the Lunar Reconnaissance Orbiter Camera (LROC):

Spectacular ejecta surround this very young impact crater about 1,400 meters (4,600 feet) across. Since there are no superimposed impact craters on the ejecta, and the delicate lacy impact spray is still preserved near the rim, this crater formed very recently, perhaps sometime in the past few thousand years.  –from the Smithsonian National Air and Space Museum

Isn’t it amazing how very much the crater looks like a sunflower? If you can’t see it, here’s a sunflower edit I did a year and a half ago that might help:

Finding a sunflower on the moon reminded me of the sunspot postcard Love Noter Arielle W sent, which also resembled a sunflower. [It was featured in a blogpost a couple of years ago].

Detail of a Sunspot. Big Bear Solar Observatory, New Jersey Institute of Technology.

These lunar and solar “sunflowers” underscore the reason sunflowers are so meaningful to me. They’re not just bright yellow blooms that look like the sun; they are my constant reminder of the Creator and His Sovereignty. If He can give us sunflowers in outer space, and if He can sustain every single atom and keep order in the Universe, then certainly I can trust Him to be faithful over every single thing that concerns me.


We’ve reached the end of NaBloPoMo 2019 and Sunflower Week 2019. I’m ever grateful to you, my readers, for tolerating my daily posts (and ramblings). I have many more sunflowers, stacks of postcards and other beautiful things to share, but they will have to wait, of course. Life is going to be super-busy with end-of-semester madness and holiday planning, but I’ll be sure to check in a couple of times a week.

Until next time…Have joy!

Shining with the Moon

North Pole Topography–from the HMOA advertising postcard

The moon, like a flower
In heaven’s high bower,
With silent delight
Sits and smiles on the night.

William Blake, “Night,” Songs of Innocence

In honor of the 50th anniversary of man’s first step on the Moon–July 20, 1969–I am sharing more photos from a visit to the Huntsville Museum of Art, this time from the exhibit, A New Moon Rises: Views from the Lunar Reconnaissance Orbiter Camera. The traveling exhibition from the Smithsonian National Air and Space Museum “features amazing, large-scale high resolution photographs of the lunar surface.”

The images were captured by the Lunar Reconnaissance Orbiter Camera (LROC) over the last decade. I snapped only a few photos because the lighting and reflection from the shiny displays made photographing a bit challenging, but here’s what I captured.

Global Views

The “Global Views” display shows the South Pole, Far Side Mosaic, Near Side Mosaic, and the North Pole views of the Moon. You can find more details on these views by clicking here: Global Views.

My photograph of “High Noon on the Moon” was so filled with “people reflections” that it’s distracting, so I borrowed the image below from the Smithsonian website. [Click image to download or for more details]

“High Noon on the Moon,” from the Smithsonian website.

The sunlight at noon minimizes shadows but enhances subtle differences in surface brightness. The dark material is mare basalt, a volcanic rock that formed when lava erupted and flooded large impact basins early in the Moon’s history. The brightest features are ejecta, deposits and bright rays of material thrown from relatively recent impact craters. Notice how dissimilar the near (upper left) and far (lower left) sides appear.  –from the exhibit label

A section of the Lunar Topographic Map

The lunar topographic map above “shows the highs and lows over nearly the entire Moon at a pixel scale of 300 meters (980 feet). The colors represent elevation, from lowest (purple to black) to highest (red to white). the map is centered on the Moon’s near side.”  For the elevation scale and more images and details: Lunar Topography.

Although the moon looks “black and white to the naked eye,” if you look closely at this [partial] image, you can see hints of color.

The subtle variations in color seen here result from the differences in the chemical composition of the rocks and soil of the bright highlands and the dark lowlands.

The craters were probably my favorite of the displays. The two images below are from the Copernican Craters. The “ejecta patterns” make the craters look like works of art. Actually, they are masterpieces of nature in “outer space.”

These two impact craters have large, spectacular ejecta patterns of bright material thrown across the Moon’s surface. […] Each is incredibly well preserved: crisp crater rims, steep crater walls, and delicate small-scale ejecta patterns. The overhead sunlight highlights the brightness variations. –from the exhibit label

I’m holding photographs of another crater for a future post, so stay tuned.

We have marvelous views of the Moon and stars each time we step outside our home at night, but these gorgeous LROC photos give us things to look for and think about when we’re looking through the telescope.

I have a special “relationship” with the moon. My name, from the Sanskrit, means “moon” or “to shine like the moon.” Some say I live up to the name. I hope so.  😉

Woman | #WordlessWednesday

Ann Gardner, “Breathing,” 1996. Sand cast glass, silver leaf.

Where there is a woman there is magic. If there is a moon falling from her mouth, she is a woman who knows her magic, who can share or not share her powers. A woman with a moon falling from her mouth, roses between her legs and tiaras of Spanish moss, this woman is a consort of the spirits.  –Ntozake Shange, Sassafrass, Cypress & Indigo


About the image: Today’s image features the artwork of sculptor Ann Gardner. The piece, entitled “Breathing,” is part of the American Studio Glass collection, on continuous view at the Huntsville Museum of Art. The sculpture is so fierce and feminine that I couldn’t resist pairing it with Shange’s words.