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This Russian embroidered panel was likely used to embellish the end of a bathing towel. Textiles of this type are valuable for their fine embroidery of ancient folk motifs, ritual significance, exemplification of the role of textiles in their society, and in this case, connection to a prominent woman collector, Natalia de Shabelsky, without whom this textile and others like it might have been lost.
Russia, Nizhny-Novgorod province, 18th-19th century
plain weave linen (est.) with polychrome wool (est.) and metal thread chain stitch embroidery; applied silk (est.) ribbon and metal thread trim
Overall: 38 x 43 cm (14 15/16 x 16 15/16 in.)
Did you know...
Embroidering the ends of everyday towels was a common folk tradition in many cultures because it displayed the skill of the mother or daughter who stitched them.
Purchase from the J. H. Wade Fund
This whimsical, saddled, and fully harnessed but riderless horse was part of a larger curtain or wall hanging of a type popular in the late 5th and early 6th century.
Curtains and wall hangings were used in private homes, as well as in public and religious buildings, to prevent drafts, divide spaces, and provide privacy. The tapestry weave of this piece is ideal for such textiles, as it produces a design that can be viewed from either side.
The complete hanging likely would have had many identical roundels (one is in the Cleveland Museum of Art) in staggered rows on a background interspersed with baskets and birds. These designs are traditionally Egyptian, while the roundel borders of heart or rose petal chains and the stylized trees are adapted from imported Sassanian silks.
H: 16 1/8 x W:17 5/16 x D: 1/16 in. (41 x 44 x 0.1 cm)
medium: wool
Walters Art Museum, 1931, by bequest.
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Once read and copied by girls at New Year’s celebrations and included in dowries, <em>The Saltmaker’s Story</em> is a rags-to-riches tale in which daughters are gifts from the gods. Despite his simple outlook, the main character progresses from humble roots as an associate at Kashima Shrine to the elite status of grandfather of the emperor through the intervention of the Kashima deity. <em>The Saltmaker’s Story</em> is traditionally presented in a set of three scrolls, but the text of this set has been removed by a previous owner, who remounted the illustrations as a pair. The paintings of this one take us from right to left through the second half of the tale.
Japan, Edo period (1615–1868)
One of a pair of handscrolls; ink, color, and gold on paper
Overall: 17.7 x 917.5 cm (6 15/16 x 361 1/4 in.)
Did you know...
This handscroll originally had texts before its paintings, but the texts were removed.
John L. Severance Fund