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H. 1 1/2 in. (3.8 cm); Diam. 7 1/2 in. (19.1 cm)
medium: Porcelain with underglaze blue (Hizen ware)
Metropolitan Museum of Art, New York, NY 1975.268.499 1975
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
This bottle shaped vase, with a bulge in the neck and flared mouth, is one of a pair painted in underglaze cobalt blue on white porcelain. They are examples of export porcelain from China to Europe or the Near East and include a mixture of cultural motifs. Elaborate floral decorations covering the body and neck of the vase are influenced by Turkish Isnik pottery. Where the shoulder and neck meet are trefoil designs filled with chrysanthemum sprays, a common domestic decoration.
Transitional period (ca. 1620-83) blue and white porcelain concentrated heavily on foreign markets and private commissions. The Manchu occupation in China closed the larger imperial kilns at Jingdezhen, original the primary location for the production of porcelains. During this period, private kilns with both private and foreign customers were able to produce high quality blue and white porcelain.
Chinese
H: 14 × Diam: 7 11/16 in. (35.5 × 19.5 cm)
medium: porcelain with underglaze blue
culture: Chinese
dynasty: Qing Dynasty
by bequest to Walters Art Museum, 1931.
Aluminum Serveware pieces
Nontoxic Serveware
1.Can be done in your custom design & size's
2.Large platters
3.Chip & Dips
4.Small nut dishes
5.Decorative tray & etc.
H. 3 7/8 in. (9.8 cm); Diam. 12 1/2 in. (31.8 cm)
medium: Black iron glaze (Kyushu ware)
Metropolitan Museum of Art, New York, NY 1975.268.449 1975
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
Siam, Sawankhalok ware, late 13th-14th Century
stoneware
Overall: 16.6 cm (6 9/16 in.)
Gift of Edwin Lowe Neville
The aged Vulcan, blacksmith of the gods, and his wife Venus, goddess of love, sit in a rocky clearing before a cave sheltering his forge. He gestures towards Mars, god of war, seated in a cloud above the forge, whom he recognizes as his rival for his wife's affection. Cupid, the son of Venus and Mars, sits in the center foreground. This composition, painted in blue, copper-green, yellow, ochre, manganese, grey, black and opaque white, may originate from an illustrated version of the ancient Roman poet Ovid’s (43 BCE-17 CE) “Metamorphoses”, and is characteristic of “istoriato” (tells a story) wares that depicted figures from Classical mythology. The back is stained with green and decorated with three concentric yellow circles, and one raised circle at the rim. In the center, the inscription “vlcano e vene / re” (Vulcan and Venus) is painted in blue. The plate was probably made in Urbino, a city renowned for its maiolica workshops during the sixteenth century. For more information on “istoriato” imagery, see 48.1487; for “maiolica,” see 48.1336.
Italian Renaissance
H: 1 3/4 x Diam: 9 15/16 in. (4.4 x 25.3 cm)
medium: earthenware with tin glaze (maiolica)
culture: Italian Renaissance
Walters Art Museum, 1931, by bequest.
In 17th-century Russia, cups often carried moralizing maxims and images, thus urging one to drink with moderation. Here, the depiction of Samson and the accompanying versified inscription warn the cup's owner not to surrender to the wiles of immoral women. The painting on the underside probably depicts the fox and the crow from Aesop's Fables and has a similar message: as the harlot decieved Samson, so the fox decieved the crow with sweet talk, thus making him drop the cheese he held in his beak. Aesop's text was translated into Russian in 1700 but was probably known even before then through Western sources.
Russian
H: 1 3/4 x Diam: 6 5/16 in. (4.5 x 16 cm)
medium: painted enamel with gilded silver
style: Baroque
culture: Russian
dynasty: House of Romanov
reign: Peter I the Great (1682-1725)
Walters Art Museum, 1952, by purchase.
H. 4 5/8 in. (11.7 cm)
medium: Jadeite
Metropolitan Museum of Art, New York, NY 21.175.97 1921
Bequest of Edmund C. Converse, 1921
Hobbs, Brockunier and Company
1863–1891
H. 2 3/4 in. (7 cm); Diam. 5 in. (12.7 cm)
medium: Pressed cranberry and opalescent glass
Metropolitan Museum of Art, New York, NY 46.140.450 1946
Gift of Mrs. Emily Winthrop Miles, 1946
The situla was a deluxe ritual vessel that played an important role in Egyptian religious ceremonies. The two scenes on this situla exemplify the dual roles of a pious Egyptian in the afterlife: receiving offerings from his family on the one hand and making offerings to the gods on the other. On one side of the vessel the deceased, Padiamennebnesuttawy ("He who Amen, lord of Karnak, gives"), sits in a low chair accompanied by his pet dog. The vertical, cross-shaped sign preceding the animal is his name, Nefer, meaning "good one" or "beautiful one." On the right, the deceased's eldest son, Amenhotep, makes offerings of incense and water to his father. On the other side the deceased demonstrates his piety by making an offering of round loaves of bread, vegetables, and meat to the gods. Opposite him are the gods who are the recipients of his offerings—Osiris, god of the dead; Horus, son of Isis; and Isis herself—each of whom wears elaborate beaded and feathered garments.
Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE)
bronze
Diameter: 15.5 cm (6 1/8 in.); Diameter of mouth: 10.2 cm (4 in.); Overall: 28.3 cm (11 1/8 in.); with handle: 45.2 cm (17 13/16 in.)
The Charles W. Harkness Endowment Fund
H. 5 3/4 in. (14.6 cm); Diam. 5 in. (12.7 cm); Diam. of rim 5 in. (12.7 cm); Diam. of foot 3 in. (7.6 cm)
medium: Stoneware with natural ash glaze and incised decoration (Sue ware)
Metropolitan Museum of Art, New York, NY 1975.268.422 1975
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
Dreamforce attendees enjoy lunch provided by Moscone Center caterer SAVOR and served in 100% certified compostable serveware. Plastic look-alike items are actually made of veggie resins.
H. 4 3/8 in. (11.1 cm); Diam. 3 in. (7.6 cm)
medium: Porcelain painted in overglaze polychrome enamels (Jingdezhen ware)
Metropolitan Museum of Art, New York, NY 21.175.34 1921
Bequest of Edmund C. Converse, 1921
H. 15 in. (38.1 cm); Diam. with earguards extended 20 in. (50.8 cm); mask H. 10 1/2 in. (26.7 cm)
medium: Iron, lacquer, gilt copper, leather, silk
Metropolitan Museum of Art, New York, NY 17.221.18–.19 1917
Rogers Fund, 1917
Diam. 6 3/4 in. (17.1 cm)
medium: Porcelain painted with overglaze polychrome enamels (Jingdezhen ware)
Metropolitan Museum of Art, New York, NY 21.175.40 1921
Bequest of Edmund C. Converse, 1921
H. 8 in. (20.3 cm); Diam. 9 in. (22.9 cm)
medium: Porcelain painted in overglaze polychrome enamels (Jingdezhen ware), wooden cover inlaid with jade
Metropolitan Museum of Art, New York, NY 21.175.27a, b 1921
Bequest of Edmund C. Converse, 1921
Silver fulfilled a prominent role in projecting wealth, status, and power in British life during the 1600s and 1700s. During this time, the arrival of silversmiths from continental Europe infused Dutch, French, and German influences within established English taste. For example, this basket was produced by Paul Jacques de Lamerie, who, despite being the preeminent silversmith in Britain during the early 1700s, was born in the Netherlands to minor French nobility. Unlike later designs, this work, with its rope-twisted handles, scalloped edges, and interweaving pattern, still closely resembles the straw baskets that inspired its shape and decoration.
England, London, 18th century
silver
Overall: 9.1 cm (3 9/16 in.); Center: 33 x 29 cm (13 x 11 7/16 in.)
Did you know...
The presence of handles suggests that this fruit basket was designed to be passed among guests after dinner.
Gift of Grace Studebaker Fish in memory of her father, John Mohler Studebaker
H. 13 in. (33 cm); Diam. 9 7/8 in. (25.1 cm)
medium: Porcelain, overglaze enamel decoration, gold, painted with views of New York City
Metropolitan Museum of Art, New York, NY 38.165.36 1938
Harris Brisbane Dick Fund, 1938
Siam, Sawankhalok ware, 15th century
stoneware
Overall: 10.8 cm (4 1/4 in.)
Gift of Edwin Lowe Neville
H. 5 in. (12.7 cm); W. 3 1/4 in. (8.3 cm)
medium: Jadeite
Metropolitan Museum of Art, New York, NY 21.175.106a, b 1921
Bequest of Edmund C. Converse, 1921
H. 10 3/4 in. (27.3 cm)
medium: Porcelain
Metropolitan Museum of Art, New York, NY 21.175.408 1921
Bequest of Edmund C. Converse, 1921
H. 9 7/8 in. (25.1 cm); Diam. 4 1/2 in. (11.4 cm); Diam. of rim 2 3/4 in. (7 cm); Diam. of foot 2 5/16 in. (5.9 cm)
medium: Porcelain painted in underglaze blue (Arita ware, Imari type)
Metropolitan Museum of Art, New York, NY 1975.268.475 1975
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
Many celadon ceramics, such as these two miniature pots, have been repaired with gold lacquer. Termed <em>kintsugi </em>(literally meaning “gold joinery”) in Japanese, this restoration method highlights broken parts with glittering gold mixed with lacquer. Initiated in 15th-century Japan, the technique follows a popular aesthetic concept called <em>wabi-sabi, </em>which finds beauty in imperfect things. Goryeo celadons were considered rare treasures among early 20th-century Japanese collectors; thus, their broken condition is brilliantly highlighted in gold lacquer, as seen here in the repaired spouts, handle, and lid.
Korea, Goryeo dynasty (918–1392)
celadon with incised and carved design
Outer diameter: 7.2 cm (2 13/16 in.); Overall: 4.2 cm (1 5/8 in.)
Did you know...
Termed <em>kintsugi</em> (literally meaning “gold joinery”) in Japanese, this method of repairing broken parts with glittering gold mixed with lacquer was extensively used for ceramic works in the Goryeo period, such as this one.
Gift of John L. Severance
Small in scale but finely painted and well preserved, this amphora depicts two common but unrelated subjects: the departure of warriors (side A) and Dionysos and two satyrs (side B). The warriors include an archer, identified by his bow and quiver full of arrows, and a heavily armed foot-soldier, wearing helmet and greaves and holding a spear and shield emblazoned with a horse protome. The archer faces a woman, while the warrior stands between two men.
Greek, Attic
ceramic
Overall: 17.3 cm (6 13/16 in.)
Did you know...
A neck-amphora is a type of amphora with separately constructed neck and body.
Purchase from the J. H. Wade Fund
H. 14 1/4 in. (36.2 cm)
medium: Porcelain painted in overglaze enamels (Jingdezhen ware)
Metropolitan Museum of Art, New York, NY 21.175.9 1921
Bequest of Edmund C. Converse, 1921
Herter Brothers
German, active New York, 1864–1906
64 1/4 x 10 15/16 x 10 15/16 in. (163.2 x 27.8 x 27.8 cm)
medium: Egyptian alabaster, gilt brass, and reproduction red glass jewels
Metropolitan Museum of Art, New York, NY 2002.298.1 2002
Purchase, Barrie A. and Deedee Wigmore Foundation Gift, 2002
According to 11th-century poet Zhou Dunyi, “all people like peonies, but I alone like the lotus because it emerges from the mud unstained.” The lotus is a symbol of purity and popular among Chinese literati and in Buddhism. This vase shows lotus flowers rising from the water’s surface depicted in elegant yet simple ripples. <br><br>Made in a kiln at Jingdezhen in southern China, this vase is an example of the <em>fahua</em> technique—decoration with raised outlines produced by squeezing clay from a tube onto the vase’s surface. Colors are applied to fill the outlines before firing.
China, Jiangxi province, Jingdezhen kilns, Ming dynasty (1368-1644)
Porcelain with polychrome glazes, Fahua ware
Diameter: 19 cm (7 1/2 in.); Overall: 37.5 cm (14 3/4 in.)
Did you know...
The shoulders of the vase are decorated with <em>ruyi</em>-shaped clouds.
Bequest of John L. Severance
A beautifully arranged dining setup features gold-accented plates and glasses, elegantly showcasing the exquisite tableware in a contemporary kitchen setting.
H. 27 3/8 in. (69.5 cm)
medium: Porcelain painted in polychrome enamels over black ground (Jingdezhen ware, famille noire)
Metropolitan Museum of Art, New York, NY 14.40.224 1914
Bequest of Benjamin Altman, 1913
Thomas Danforth Boardman
1784–1873
H. 6 1/2 in. (16.5 cm)
medium: Pewter
Metropolitan Museum of Art, New York, NY 43.162.7a, b 1943
Gift of Joseph France, 1943
H. 3 1/8 in. (7.9 cm); Diam. 4 1/4 in. (10.8 cm)
medium: White jadeite
Metropolitan Museum of Art, New York, NY 21.175.49a, b 1921
Bequest of Edmund C. Converse, 1921
H. 6 5/8 in. (16.9 cm); W. 2 1/16 in. (5.2 cm); D. 1 3/8 in. (3.5 cm)
medium: Nephrite, light spinach-green with black inclusions, and a light gray caused by calcination
Metropolitan Museum of Art, New York, NY 02.18.714 1902
Gift of Heber R. Bishop, 1902
H. 1 5/8 in. (4.1 cm); Diam. 6 in. (15.2 cm)
medium: Porcelain with underglaze blue decoration (Hizen ware)
Metropolitan Museum of Art, New York, NY 1975.268.483 1975
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
H. 2 in. (5.1 cm); Diam. 10 1/2 in. (26.7 cm)
medium: Stoneware (Seto ware)
Metropolitan Museum of Art, New York, NY 1975.268.610 1975
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
H. 3 1/4 in. (8.3 cm); Diam. 4 in. (10.2 cm)
medium: Porcelain painted in overglaze polychrome enamels (Bencharong ware for Thai market)
Metropolitan Museum of Art, New York, NY 09.70.85a, b 1909
Avery Fund, 1909
H. 5 in. (12.7 cm); Diam. 6 1/2 in. (16.5 cm); Diam. of rim 6 in. (15.2 cm); Diam. of foot 2 3/4 in. (7 cm)
medium: Pottery; earthenware
Metropolitan Museum of Art, New York, NY 15.158 1915
Gift of Lai-Yuan & Company, through C. T. Loo, 1915
Diam. 2 1/8 in. (5.4 cm)
medium: Nephrite
Metropolitan Museum of Art, New York, NY 21.175.87a, b 1921
Bequest of Edmund C. Converse, 1921
H. 12 1/2 in. (31.8 cm); H. of comb 4 5/16 in. (11 cm); W. 9 3/4 in. (24.8 cm); D. 13 1/8 in. (33.3 cm); Wt. 4 lb. (1814 g)
medium: Steel, silver, pigment, gold, brass
Metropolitan Museum of Art, New York, NY 14.25.651 1914
Gift of William H. Riggs, 1913
Aluminum Serveware pieces
Nontoxic Serveware
1.Can be done in your custom design & size's
2.Large platters
3.Chip & Dips
4.Small nut dishes
5.Decorative tray & etc.
The original Portland Vase is a Roman antiquity, made of dark-blue glass, dating from the first century AD. Such a rare archaeological find fascinated aristocratic collectors and artists alike, and eventually the vase came into the hands of the 3rd Duke of Portland in the 1780s. Around 1790 the duke lent the vase to the potter Josiah Wedgwood to make exact replicas in ceramic, of which the Cleveland example is one of the first editions. Eventually, the 4th Duke of Portland deposited the original Roman vase in the British Museum, where it resides today.
England, Staffordshire
jasperware with applied decoration
Overall: 26.4 x 17.8 cm (10 3/8 x 7 in.)
Did you know...
While the scene depicted here is not known for certain, many scholars believe that the Portland Vase portrays the wedding of Peleus and Thetis from Greek mythology.
Gift of Mrs. L. E. Holden
H. 1 3/4 in. (4.4 cm); Diam. 6 1/8 in. (15.6 cm)
medium: Porcelain with underglaze blue decoration (Hizen ware)
Metropolitan Museum of Art, New York, NY 1975.268.480 1975
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
H. 21 1/4 in. (54 cm); W. 7 in. (17.8 cm)
medium: Porcelain painted in overglaze polychrome enamels (Jingdezhen ware)
Metropolitan Museum of Art, New York, NY 21.175.2 1921
Bequest of Edmund C. Converse, 1921
Aluminum Serveware pieces
Nontoxic Serveware
1.Can be done in your custom design & size's
2.Large platters
3.Chip & Dips
4.Small nut dishes
5.Decorative tray & etc.
Diam. 9 7/8 in. (25.1 cm)
medium: Earthenware, gaudy dutch
Metropolitan Museum of Art, New York, NY 34.100.107 1934
Gift of Mrs. Robert W. de Forest, 1933