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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
July is the season of the ripening deep blue grapes, and also the month when the monsoon season begins in Korea. To the accompaniment of stormy summer wind, grape vines make a spectacular full circle across the surface of this eight-panel folding screen. The artist employed a variety of ink tones to create a sense of swift movement of grapevines amid turbulent storms. <br><br>Since their first introduction to the Korean peninsula around the 7th century through the Silk Road, grapes were used as artistic motifs. Artists embellished the surface of mother-of-pearl lacquer boxes or blue-and-white porcelain, while scholar-poets composed poems about the luscious sweet sourness of green grapes. By the late 19th century, grapes became the icon of fertility: the fruit grows in large clusters of many individual grapes, evoking the image of a stable clan with many descendants.
Korea, Joseon dynasty (1392–1910)
eight-panel folding screen; ink on paper
Image: 100.5 x 345 cm (39 9/16 x 135 13/16 in.)
Did you know...
Grapes in premodern East Asia symbolize many children.
Gift from the Collection of George Gund III
Egypt, New Kingdom (1540–1069 BCE), Dynasty 18, reign of Tuthmosis III (1479–1425 BCE)–reign of Amenhotep III (1390–1352 BCE)
travertine
Diameter: 9.7 cm (3 13/16 in.); Diameter of mouth: 4.5 cm (1 3/4 in.); Overall: 16.4 cm (6 7/16 in.); Diameter of lid: 6.6 cm (2 5/8 in.)
Gift of the John Huntington Art and Polytechnic Trust
Another reason why:
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This image of a tulip was made as part of a tulip book used as a grower’s marketing tool during the so-called tulip mania, a speculative bubble in 17th-century Holland, when ten tulip bulbs could cost more than a stately Amsterdam canal house. The striations on the tulip, which were caused by a virus in the bulb, made it especially valuable. Pieter Holsteyn II was one of many artists in the Netherlands at the time who specialized in botanical illustration.This tulip's Dutch name, inscribed on the sheet, means "white and red messenger."
Netherlands
Point of brush and transparent and opaque watercolors with traces of graphite and gum glazing on antique laid paper
Sheet: 31.2 x 20.6 cm (12 5/16 x 8 1/8 in.)
Did you know...
In 17th-century Holland, some tulip bulbs were as expensive as a stately Amsterdam canal house.
Nancy F. and Joseph P. Keithley Collection Gift
The Virgin kneels on a crescent moon with her hands in an attitude of prayer. Her head is uncovered, and her hair falls down her back and in tresses over her shoulders. In rendering the folds of the garments, little concession has been made to anatomy.
This piece, like 71.342, was apparently carved in the Portuguese colony of Goa, on the west coast of the Indian subcontinent by a native artist.
Devotional statuettes carved in ivory celebrating the immaculate purity of the Virgin were popular in the 1600s in Europe and this taste spread to the colonies established by Catholic countries in Asia and the Americas. The three most important locations for production of these ivories were the portuguese colonies on the Indian subcontinent (Goa, where the present piece as well as Walters 71.407 were made), the island of Sri Lanka (see Walters 71.341) and the Spanish colony of the Philippines (see for example Walters 71.322).
A square paper label with blue borders on the under surface of the statuette is inscribed in ink: "123."
H: 5 3/16 in. (13.2 cm)
medium: ivory, traces of gilding
Walters Art Museum, 1931, by bequest.
Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this trophy, with its swags of flowers, neoclassical rosettes, acanthus spears, and acorn finial, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of this trophy cup can be found the arms of Robert Grosvenor (1767–1845), the first Marquess of Westminster, and Lady Eleanor Egerton (1770–1846), whom he married in 1794, a year after the trophy’s completion. The other side depicts preparations for a horserace, the most culturally significant leisure activity enjoyed by aristocratic families in the 1700s. Grosvenor owned a number of famous horses and was likely awarded this trophy following a successful race.
England, 18th century
silver gilt
Overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.)
Did you know...
The graceful form of this trophy by Peter Bateman and his sister-in-law Anne Dowling Bateman is reminiscent of the elegant designs produced by their mother Hester Bateman (1708–1794), one of the most celebrated female silversmiths of all time.
Anonymous gift in memory of Margaret Quayle Kerruish; the Thomas S. Grasselli Memorial Collection, and various donors by exchange
The monk-painter Sesshp is revered today, as he was in his own time. While he left Kyoto's sophisticated intel-lectual and cultural environment to live in a provincial village in a far western province, he seems never to have severed contacts with the monastic communities of his young adulthood. His residence in Yamaguchi proved fortuitous because his patron, the region's military lord, enjoyed considerable freedom in conducting trade missions overseas with Korea and China. Sesshp went to China in 1467 and traveled about the country, visiting well-known historical sites and Chan (Zen) temples before returning two years later. Thus he became familiar with contemporary painting practices, materials, formats, and subject matter. His assimilation and then transmission of these elements had a profound impact on the following generations of ink painters, patrons, and Zen communities throughout Japan. Despite the presence on these byøbu of the name "Sesshp," they are from the hand of another accom-plished but as yet anonymous follower active in the middle of the sixteenth century. Sesshp's name here, as on a handful of similar bird-and-flower byøbu, attests to the master's identification at that time with the colorful mural paintings on the same theme emanating from Ming dynasty China. This genre had heretofore been relegated to hanging scroll compositions, so the intro-duction into temple and daimyo residences of such an attractive theme surely caused considerable excitement in the later fifteenth century, when in all likelihood Sesshp introduced it into the Japanese painting reper-toire. Subsequently, artists of varying backgrounds and training tried their hands at these large, dramatic scenes. From right to left the composition portrays an array of flowering plants in the near distance that indicate the passage of the seasons. Birds, usually paired, occupy this setting, engaged in various activities that lend naturalism and an air of peacefulness. The world they inhabit may be characterized pictorially by expansive middle-ground waterscapes that end where the far distant mountains rise as backdrops. These features appear consistently in other bird-and-flower byøbu attributed to Sesshp. Also noteworthy is the absence of any birds of prey such as the samurai's beloved hawks, emblems of fierceness and graceful strength that appear often in the byøbu of sixteenth-century Kano and Soga school painters.
Japan, Muromachi period (1392–1573)
Six-panel folding screen, ink and color on paper
Image: 158.5 x 359.4 cm (62 3/8 x 141 1/2 in.); Overall: 175.2 x 374.4 cm (69 x 147 3/8 in.)
Gift of Mrs. A. Dean Perry
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Sulpicia was chosen in the 3rd century BCE from among a hundred women in Rome as the most worthy to dedicate a statue to the goddess Venus Verticordia, protector of women. Before an imaginary view of the city of Rome, Sulpicia holds a model of the temple of the goddess.
The painting is one of eight surviving related panels depicting Roman men and women who exemplified virtuous behavior. The series was probably made to celebrate the marriage in 1493 of Silvio di Bartolomeo Piccolomini (a relative of Pope Pius II) and was intended to provide moral examples for the newly married couple.
The artist's fascination with antiquity is visible not only in the subject matter but also in the classicizing linear gracefulness of the human form and the ornament of the base.
Painted surface H including strips added on all sides: 42 1/2 x W: 18 11/16 in. (108 x 47.5 cm)
Panel H: 42 x W: 18 1/4 x D: 13/16 in. (106.7 x 46.3 x 2.1 cm)
medium: tempera and oil on panel
Walters Art Museum, 1931, by bequest.
Christ and the eleven apostles -Judas having departed- are seated along one side and at the ends of a wooden table covered with a cloth. In the foreground there are a wine-pot and a salver on edge. Behind the group the wall is pierced with a bull's-eye window and there are square windows on the side walls.
This Last Supper should more properly be called the Giving of the New Commandment, as it copies a woodcut executed by Albrecht Dürer in 1523 (B. VII, 53) under the influence of two publications of Martin Luther. These are "The Sermon of the New Testament, that is on Holy Mass," (1520) and the "Formula of the Mass," (1523). The moment referred to is when, after Judas had left, Christ gave to the eleven apostles the new commandment: "...that you love one another as I loved you," (John 15:12). Dürer's woodcut is the first known work of art alluding to a Lutheran Holy Communion service. Dürer included a representation of the chalice on the table to emphasize the communion of the congregation with wine; the enameller has avoided this detail.
H: 3 1/8 × W: 2 3/16 in. (8 × 5.5 cm)
medium: painted enamel on copper
Walters Art Museum, 1931, by bequest.