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This sinuous animal formed the handle of a lid to a vessel, perhaps a situla (pail) or cista (cylindrical container). The head is that of a panther, while the curve of the body has become so pronounced that it resembles a weasel. The Etruscan love of animals inspired their craftsmen to adorn many simple household objects with decorative animal imagery.
Etruscan (?)
H: 2 3/4 x W: 3 7/8 x D: 1 1/4 in. (7 x 9.9 x 3.2 cm)
mount H: 1 x W: 4 5/16 x D: 2 in. (2.5 x 11 x 5.1 cm)
medium: bronze
culture: Etruscan (?)
Walters Art Museum, 1931, by bequest.
France, 19th century
pencil and watercolor
Gift of The Print Club of Cleveland in honor of Mrs. William G. Mather
The scene depicts two sets of battling beasts. The first is a strangely posed bull-man, wrestling with a fantastic lion-like creature; the second is another strangely posed bull-man, wrestling with a composite horned caprid/bull creature. There is one register of cuneiform.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Akkadian
H: 1 1/8 x Diam: 5/8 in. (2.9 x 1.5 cm)
medium: brown and white stone
culture: Akkadian
Walters Art Museum, 1941, by purchase.
The horizontal format of this sacred text is derived from the earlier use of palm leaves instead of paper. This page is from the foundational work of scripture for worshippers of the great goddess Devi.<br><br>In her warrior aspect, or incarnation, Devi is multiarmed, rides a lion, and conquers demons more powerful than all the male gods. The demon holding a mountain above his head as a missile is dressed in the Central Asian belted tunic and pants of the Mughals, who ruled most of India at the time this painting was made. Devi wears the Mughal women’s style of tall flat-topped feathered headdress, and she holds a bottle and cup of liquor. Aside from these Mughal elements, the style remains staunchly indigenous, with unmodeled figures in strict profile against a flat red ground.
India, Rajasthan, Possibly Sirohi, 17th century
Gum tempera, ink, and gold on paper
Image: 12.5 x 10.2 cm (4 15/16 x 4 in.); Overall: 12.5 x 27.5 cm (4 15/16 x 10 13/16 in.)
Gift of George P. Bickford
This is a standard (oblong) black and gold lacquer four compartment inro. There is a design around the inro of partially raised bamboo blinds with clouds and three different types of chrysanthemums outside and in front of the blinds in "hiramakie" in gold and silver lacquer with "okibirame." The chrysanthemums are bold in design and made of inlaid raden, red and gold lacquer. There is red lacquer on one side and the inlaid raden on the other, all on a ground "roiro" and "jimaki." The interior is "nashiji" and "fundame," and there is an inscription on the bottom of the lower compartment. The cord channels are external. The inro is bound together with a carved, lacquered wood netsuke of a cock perched on a drum.
Japanese
L: 8 9/16 in. (21.7 cm)
Inro H: 3 9/16 × W: 2 1/4 × D: 3/4 in. (9 × 5.7 × 1.9 cm)
Netsuke H: 1 5/8 × W: 1 1/8 × D: 3/4 in. (4.1 × 2.9 × 1.9 cm) H: 7/16 × Diam: 9/16 in. (1.1 × 1.4 cm)
medium: gold lacquer, raden, coral, wood
culture: Japanese
Walters Art Museum, 1931, by bequest.
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After the sudden, apparent death of the pious man’s daughter, her three suitors take her body from its grave. One of the suitors, a doctor, realizes that the woman is not dead and proposes flailing her to restore her consciousness. After she is successfully revived, the men resume their rivalry.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 7.8 x 10.1 cm (3 1/16 x 4 in.)
Did you know...
The stain above the painting is from the acidic green pigment used to paint a tree on the reverse.
Gift of Mrs. A. Dean Perry
A bird is depicted perched on the branch of an oak tree. Beneath the bird is a small cluster of gold acorns. This is part of a set with Walters 51.1012.
Japanese
1 5/16 in. (3.4 cm) (l.)
medium: shakudo, copper, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
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Egypt, Antinoë, Byzantine period
tapestry weave (with plain tabby borders): wool and linen
Overall: 122.6 x 158.1 cm (48 1/4 x 62 1/4 in.)
Purchase from the J. H. Wade Fund
The Derelict, or the Lost Boat, 1916. Arthur Wesley Dow (American, 1857–1922). Color woodcut on Japanese paper; image: 14.6 x 10.1 cm (5 3/4 x 4 in.); sheet: 17.6 x 13.4 cm (6 15/16 x 5 1/4 in.). The Cleveland Museum of Art, Gift of James and Hanna Bartlett 2018.1070
More at clevelandart.org/art/2018.1070
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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//printing-style.blogspot.hk/
This is the second type of gold halfcrown, showing the queen in ornate style. She often wore elaborate and luxuriously decorated dresses, many of them heavily bejeweled as seen here. The mint mark, visible just above the crown on the reverse, is a tun or barrel. This helps identify the date the coin was issued as the mint mark changed every few years.
England, Elizabeth I, 1558-1603
gold
Diameter: 1.5 cm (9/16 in.)
Did you know...
First issued in 1549, the halfcrown is the equivalent of two shillings, six pence. It was discontinued in 1970.
The Norweb Collection
This work is unusual in the artist's oeuvre. Most of his images of women depict them as united in their objective to outwit and manipulate men in order to meet their material needs. Or they conform to the stereotype of compassionate nurturer and keeper of the faith as in "Alms," (Walters 37.1346) or "Woman and Child at a Shrine," (Walters 37.1375). Moreover, the spectator does not participate in the action that unfolds in the stage-like settings of those pictures. In "Here is the pleasure . . . ," however, Beaumont reveals the antagonism among women of different social classes and generations. The harping old hag shrieks at the young woman, while her words are directed to unseen male patrons. She exposes the demure and properly dressed woman as a "demi-mondaine," hawking her to passersby. The repetition of details makes clear that the jealous crone is a herald of the inevitable fall from grace that awaits the "jolie femme." The knot in the old woman's kerchief mimics the feather that adorns her counterpart's cap. The hag's open collar echoes the other's shawl. The graceful slope of the young woman's shoulders and delicate position of the hands at the waist will eventually give way to the hunched back and defiant gesture of her elder. Beaumont's visual dialogue between the two figures and the crude caption beneath tell a grim story in which the beholder is morally implicated.
H: 9 1/8 x W: 7 7/16 in. (23.1 x 18.9 cm)
medium: watercolor and graphite heightened with gum on cream, moderately-thick, smooth wove paper
Walters Art Museum, 1931, by bequest.
Ancient Egyptians believed the goddess Taweret, whose name translates as "the Great One," offered protection to women during pregnancy and childbirth. She is represented as a hippopotamus with a swollen belly, pendulous human breasts, the limbs of a lion, and the back and tail of a crocodile. Taweret was a benevolent deity and was commonly depicted on amulets. Underscoring her function as a protector, she holds the hieroglyph "sa," meaning protection, in each hand, (the cartouches on her shoulders were added at a later date, and have so far escaped a definitive reading). Although her cult gained great importance, she had no temples of her own.
Egyptian
H: 20 7/8 x W: 8 7/16 x D: 9 3/4 in. (53 x 21.5 x 24.7 cm)
medium: red granite
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
Together with 59.1 and 59.2, this piece was discovered in Egypt as part of a hoard that comprised about twenty similar medallions (now dispersed among various museums), eighteen gold ingots, and six hundred gold coins issued by Roman emperors from Severus Alexander (r. 222-235 CE) to Constantius I (r. 293-306 CE). One of the medallions, now in the Calouste Gulbenkian Museum in Lisbon, bears an inscription that possibly reads "Olympic games of the year 274", a date corresponding to 242-243 CE. It is possible that the medallions were intended as prizes to be given out at that event. Alternatively, they may have been issued by Emperor Caracalla (ruled 198-217 CE), who is potrayed on the this medallion in profile, bearing a shield on his shoulder decorated with the image of Nike in a racing-chariot. The back depicts Caracalla's distant predecessor King Alexander of Macedon (r. 336-323 BCE) in short chiton and chlamys (a cloak) hunting a boar. This depiction of a royal hunt was intended to emphasize the prowess that Alexander also showed in battle.
Roman
3/16 x 2 1/4 in. (0.6 x 5.7 cm) (d. x diam.)
medium: gold
style: Hellenistic
culture: Roman
dynasty: Severan Dynasty
Walters Art Museum, 1931, by bequest.