Rectangular Glass Top Table
- Placed or having parts placed at right angles
- In Euclidean plane geometry, a rectangle is any quadrilateral with four right angles. The term is occasionally used to refer to a non-square rectangle. A rectangle with vertices ABCD would be denoted as .
- Denoting or shaped like a rectangle
- (of a solid) Having a base, section, or side shaped like a rectangle
- having four right angles; "a rectangular figure twice as long as it is wide"
- orthogonal: having a set of mutually perpendicular axes; meeting at right angles; "wind and sea may displace the ship's center of gravity along three orthogonal axes"; "a rectangular Cartesian coordinate system"
- Present formally for discussion or consideration at a meeting
- a piece of furniture having a smooth flat top that is usually supported by one or more vertical legs; "it was a sturdy table"
- Postpone consideration of
- a set of data arranged in rows and columns; "see table 1"
- postpone: hold back to a later time; "let's postpone the exam"
Folding Craft Station Finish / Work Surface: Silver / Blue Glass
13220 Finish / Work Surface: Silver / Blue Glass Pictured in Black / White Features: -Folding craft station. -Available in black finish with white glass or silver finish with blue glass. -Heavy gage steel construction for durability. -Tempered safety glass top. -6 Angle adjustment from flat to 35 degrees. -Four removable side trays for supplies. -Four floor levelers for stability. -24'' Slide up pencil ledge. -Blue folding craft station can be used as a light table. -Manufacturer provides ten year warranty. -Main work surface area dimensions: 36'' W x 25'' D.
A Highly Important Egyptian New Kingdom Fragmentary Cast, Cut, and Polished Glass Head of a Pharaoh, Possibly Amenhotep III, with Black Glass and Alabaster Inlay, Of the Highest Importance for the Stu
Glass, 1400-1350 B.C.E.
Egyptian, 18th Dynasty, 1400-1350 B.C.
Opaque medium blue glass, inlaid with black glass and alabaster (?).
Lost wax cast, cut and polished.
Three major joining fragments, several smaller joining wedges and chips1); two nonjoining fragments; patches of limely accretion and some evidence of devitirification.
Largest fragment Height 16.8cm, Width (across the back) 16.2cm,
Three dimensional glass sculpture is rare in antiquity, it may be just chance that so little survives. So, even though it has been more than forty years since an Egyptologist, specializing in glass, published all of the sculpture in glass known from Egypt, his work still remains the basic catalogue2). A few additional works have come to light but not much more has been published3).
In the second and first millennium B.C. glass was a rare and costly material which was highly prized and its production jealously guarded. On occasion, objects seem to have been turned over to hard stone carvers in order to produce a work of three dimensions. The Miho glass head would appear to be one of these exceptions. Glass sculpture is even more rare in the Near East. Early pendants representing the goddess Astarte exist from various excavations4) but they are simple and pressed into an open mold. They date from the mid-15th to the 13th century B.C. The only materials remotely comparable to the Egyptian head are the fragments of inlays and appliques5) which suggest that glass was used primarily to embellish stone and wooden statues. To date, no evidence exists confirming that such statues in the Near East were made entirely of glass even later in the 1st millennium.
With the invention of glassblowing at the end of the first millennium and the subsequent popularity of glass as a common material, little evidence of glass sculpture exists. The foreleg of a horse in black glass provides a single clue that glass was used on a monumental scale for Roman sculpture6). Two small scale copies of the famous Greek sculpture of the Cnidian Aphrodite7) are known. A tantalizing diminutive head of the Emperor Augustus and a somewhat increasing assortment of imperial glass heads are preserved8). Thousands of inlays exist and hundreds of extraordinary luxury vessels attest to the virtuosity of the Roman glassmaker. Yet over this period of nearly two millennia, little evidence either in the literature or from archaeological study exists to establish glass as a medium of three dimensional sculpture.
With this in mind, the existence of a roughly life-size head of solid glass from Egypt is of incredible importance for the history of glass. For Egypt, it must assume a place at the forefront of glassmaking, perhaps as the most significant accomplishment of the Egyptian glassmaker's art. It is reminiscent of the astounding beauty seen in the fragmentary Head of a Queen possibly Nefertiti or Kiya carved in yellow jasper, now in the Metropolitan Museum of Art in New York9). Other Egyptian sculptures in glass are beautiful but diminutive masterpieces. This object, though fragmentary, compares in quality with the finest royal stone sculptures fabricated in the Eighteenth Dynasty.
The glass is an opaque medium blue containing very few bubbles and is translucent only at the very edge, suggesting intense coloration11). A chemical analysis done by Dr. Robert H. Brill at the Corning Museum of Glass confirmed the glass composition was consistent with 18th Dynasty material excavated at Malkata12). The surface is unevenly covered with a medium brown limely accretion which retains some sandy inclusions. Similar to this layer but distinct from it is a thin light to medium brown glassy layer notably on the original worked surfaces of the face. This seems to be a layer of sugary devitrification and appears as a surface stain like a varnish or transparent shellac. Beneath this layer is a series of straight but random fissures or veins which run under the thin crust and are cracks in the matrix. These fissures occur on the interface between the massive fragment and the piece preserving the eye only on the massive side. Although the veins run randomly through the mass there appears to be a concentration at the center13).
Additional evidence of devitrification exists within the glass. The oval segment14) spalled from the cheek is covered with glossy thick patches of white crystalline structures. These bloom over a thin milky layer on the surface. The only related surface known to me is also Egyptian. The false beard on the gold mask of Tutankhamun15) has greyish blue glass inlays. The surface is also disturbed and may have been heated, perhaps to join the beard to the chin. The discoloration appears to be a result of devitrification.
The largest fragment16) preserves the flat top of the head probably where the forehead and crown joined and ran down to the base of the skull. Here the neck would have been added. It also preserves
Trendy lagos coffee table with a mix of glass and stainless steel
Clear glass top with 4 steel supports
Base made of quality 15mm stainless steel for ultimate durability and strength
High quality 12mm toughened safety glass that provides a durable, hard wearing top
For your piece of mind know only the best materials and construction methods were used
Highest quality furniture from a respected manufacturer
Table: (W) 120 x (D) 65 x (H) 46.6cm
rectangular glass top table
This quality single level unique vintage wood finish watch storage display case will protect your watch collection from dust and beautifully display your classic timepieces through its clear viewing top. The watch case interior is lined with soft fabric to protect your watches against scratches. This quality watch storage box features 6 compartments with 7 removable squeezable soft cushions (5 small cushions and 2 large cushions). You may remove the cushions to store other items such as body jewelry, cufflinks, spare links, watch tools, diamond rings or earrings. The watch case is secured with a vintage matching lock (key included). This watch storage box will fit large watches such as Bulova, Accutron, Tag Heuer, Rolex, Seiko, Citizen, Fossil, Guess, Breitling, IWC, Raymond Weil watches and many more. Watches not included. Watch case dimension 29.7 cm (L) x 20.2 cm (W) x 9.6 cm (H).
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