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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
Japan, Meiji period (1868–1912) to Taishō period (1912–26)
iron (?)
Overall: 4.1 x 10.5 cm (1 5/8 x 4 1/8 in.)
Gift of Laurence H. Norton, Robert C. Norton, and Miriam Norton White in memory of Mr. and Mrs. D. Z. Norton
John Singleton Copley
American, Boston, Massachusetts 1738–1815 London
40 x 50 in. (101.6 x 127 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 2014.440 2014
Purchase, Brooke Russell Astor Bequest and Ronald S. Kane Bequest, in memory of Berry B. Tracy, 2014
7 1/4 i× 14 in. (18.4 × 35.6 cm)
medium: Paper and metal paint / Paint
Metropolitan Museum of Art, New York, NY 25.215.90 1925
Fletcher Fund, 1925
This ornament is made of a spondylus shell, from which the exterior surface has been carved away to reveal a layer of bright orange. The pampas cat inlaid on the surface in multicolored shell and stone has bean-shaped spots on his body, and grasps a gold gourd or fruit. In both Paracas and Nasca art, the small, non-domesticated pampas cat is strongly associated with beans and other crops. Perhaps it was thought to guard the fields from rodents and other pests.
Peru, South Coast, Nasca
Spondylus shell with shell, stone, and gold inlay
Overall: 7.5 x 7.4 cm (2 15/16 x 2 15/16 in.)
In memory of Mr. and Mrs. Henry Humphreys, gift of their daughter Helen
Guanyin is a bodhisattva, a divine being who has attained enlightenment but chooses to stay in the world to help others. Guanyin (an abbreviation of Guanshiyin: “Perceiver of the World’s Sounds”) responds to the calls of those in peril.
Here, Guanyin sits in an attitude of tranquil ease, an arm resting on one knee while gazing at the moon’s reflection in the water below; the bodhisattva’s rippling garments puddle downward in a seemingly liquid cascade. In China, devotion to Guanyin, who came to be represented as an androgynous or female being, was popularized through sacred texts ("sutras"), miracle tales, and legends by which the deity became associated with natural elements, such as water and the moon, that evoke themes of impermanence and change.
The sculpture is a technical marvel. The entire figure, down to the slender fingers, is hollow and made in a technique similar to papier-mâché. Layers of cloth soaked in lacquer, derived from a tree resin, were wrapped over an internal clay support that was removed after the lacquer had hardened. X-radiography shows that the hollow interior was covered in a pigment containing red mercury, called cinnabar, that may have had both sacred and preservative functions.
Chinese
H: 50 x W: 34 1/4 x D: 22 5/8 in. (127 x 87 x 57.5 cm)
medium: dry lacquer, gold, and paint
culture: Chinese
dynasty: Ming [Ming] Dynasty
given to Walters Art Museum, 2006.
Mountain and River in Storm, early to mid-1600s. Hirowatari Setsuzan (Japanese, ?-1674). Hanging scroll; ink on paper; overall: 92.7 x 34.3 cm (36 1/2 x 13 1/2 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III 2015.459
More at clevelandart.org/art/2015.459
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Within a spacious and unadorned hall, a Franciscan monk preaches to a group of ecclesiastics and laymen. In accordance with Renaissance social hierarchies, women are seated on the ground while men are seated on benches or standing. The monk looming over the crowd from a simple wooden pulpit gestures upward toward God, the source of his authority, and rests his other hand on a piece of paper marked with a red seal. The paper is likely a papal bull, or decree, investing the monk’s arguments with the authority of the church.
The monk’s attention seems to be directed specifically to the three clergymen (two bishops and a cardinal) seated on the bench in the foreground. The bishop in green is directly engaged with the monk and the two seem to be debating. Exactly what is being discussed is not clear, though it has been suggested that it is the institution of the Monte di Pietà, a charitable organization akin to a pawnshop that was founded by the Franciscans in the late 1400s. One prominent Franciscan, Bernardino da Feltre, is recorded as having preached in favor of the Monte’s foundation in 1491 in the town of Faenza. This painting, executed in or near Faenza around 1520, could depict this very debate. However, the monk’s features don’t resemble those of Bernardino’s as represented in the surviving portraits of him.
As indicated by its small size and horizontal orientation, the picture was originally part of a predella, the lowest register of an altarpiece. Predellas were often illustrated with scenes from the lives of the figures represented in the altarpiece’s central compartments. This painting, together with its companion panel depicting the “Saint Anthony of Padua Taking the Habit of the Franciscan Order” (Walters 37.547), must have come from a now-unidentified altarpiece in a Franciscan church.
Painted surface H: 15 1/16 x W: 23 1/16 x D excluding cradle: 5/16 in. (38.2 x 58.5 x 0.8 cm)
H framed: 20 x W: 27 3/4 x D: 2 in. (50.8 x 70.49 x 5.08 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
The crucified Christ was a central theme of medieval visual art. Each period set its own artistic and iconographic priorities, depending on the function and context of the works. For example, the dead Christ with his head bowed, the side wound dripping with blood, and the richly designed loincloth is characteristic of the 1300s. This miniature is localized to Bohemia (present-day Czech Republic and Slovakia), with its capital Prague as a leading art center of its time. The great plague, however, does not seem to have triggered a surge of innovation here.
Bohemia
ink, tempera, and gold leaf on parchment
Sheet: 35.4 x 23.5 cm (13 15/16 x 9 1/4 in.)
Did you know...
Below the cross a small skull is visible, <em>Golgotha </em>the site of the crucifixion was often translated as "place of the skull."
Mr. and Mrs. William H. Marlatt Fund
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This small triptych icon is fitted within a silver frame and was meant to be worn on the chest as a pendant. The outside of the frame is engraved with floral ornament and has a small relief Crucifix in the middle. In the top register on the inside, the four evangelists surround an image of the Holy Trinity. On their two sides is the Annunciation. The scenes that follow are, from left to right, the Nativity, Presentation of Christ in the Temple, Baptism, Transfiguration, Raising of Lazarus, Entry into Jerusalem, Crucifixion, Resurrection, Ascension, Pentecost, Dormition of the Virgin, and Birth of the Virgin. These are framed by an image of the Tree of Jesse: Jesse, the father of King David, is shown reclining at it the bottom; from him spring branches that contain medallions with images of the Old Testament ancestors of Christ.
Orthodox Eastern
H: 5 1/2 x W: 5 1/8 x D: 13/16 in. (14 x 13 x 2 cm)
medium: boxwood, silver
style: Post-Byzantine
culture: Orthodox Eastern
dynasty: Ottoman Dynasty
Walters Art Museum, 1931, by bequest.
John Lewis Krimmel
1786–1821
9 1/8 x 6 3/4 in. (23.2 x 17.1 cm)
medium: Watercolor and graphite on white laid paper
Metropolitan Museum of Art, New York, NY 42.95.16 1942
Rogers Fund, 1942
This unidentified sculpture represents a mature male figure with a long beard. His robes, crown-like head ornament, and hair arranged into a topknot resemble the attire and styling of members of the heavenly realm—<em>tenbu</em> in Japanese—of the Buddhist cosmos. The comparatively simple design, along with carving marks purposely left by the sculptor throughout the surface tend to be associated with sculptures of <em>kami</em>, deities venerated at shrines, or<em> jinja</em>.
Japan, Heian period (794–1185)
Magnolia wood with traces of color
Overall: 100 cm (39 3/8 in.)
John L. Severance Fund
Italy or France, 18th century
gold band, silver and enamel setting with diamond, ruby, emerald and garnet stones
Diameter: 1.8 cm (11/16 in.)
Gift of J. H. Wade
The son of a miniaturist, Baker spent almost his whole life in New York City, except for a trip to Italy in around 1846. He studied at the National Academy of Design. He was one of the most sought after portraitists of his time, but also painted ideal pieces, such as "Love at First Sight," and "The May Queen" (present location unknown). The Walters Art Museum owns 8 works by this artist; his works can also be found at the Brooklyn Museum of Art.
This self-portrait of the artist was acquired by William T. Walters during the artist's lifetime, and he seems to have found favor with the collector. He also portrayed Mrs. Ellen Harper Walters, William's wife, and their daughter, Jennie (see WAM 37.2637 and WAM 37.1207).
H: 27 3/16 x W: 22 1/8 in. (69 x 56.2 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
Japanese
H: 2 13/16 x W: 1 15/16 x D: 1 1/4 in. (7.2 x 5 x 3.1 cm)
medium: sperm whale tooth (?)
culture: Japanese
Walters Art Museum, 1931, by bequest.
This steatite scarab has a flat underside with a vertically arranged bottom inscription with a personal wish formula. The top of the piece has a very detailed, deeply incised design with slightly irregular line flow and almost balanced proportions. The workmanship is good and the piece is simply made.
The piece functioned as a provider individualized amulet and should provide its owner with the special support of the goddess Bastet. It originally would have been mounted or threaded.
Egyptian
H: 1/4 x W: 7/16 x L: 9/16 in. (0.7 x 1.1 x 1.5 cm)
medium: light red-beige steatite with green-blue glaze
culture: Egyptian
dynasty: 26th-27th Dynasty
Walters Art Museum, 1931, by bequest.
In stone sculpture, Maya rulers celebrated the milestones of their reigns with flamboyant portraits like this image of a royal woman, created to mark the passage of a twenty-year period known as the k’atun. She originally stood in a plaza next to a portrait of her spouse (see photo), with whom she ruled El Perú-Waka’, a provincial Maya town. A member of the powerful dynasty of a nearby Maya center, she seems to have held higher authority than her husband, serving as a military governor. Her costume reflects her status: the headdress has a fan of green quetzal feathers and her jewelry probably refers to jade-both among the most prized of ancient materials. Jade beads also may form the net over her garment, belted with the head of a fish-like creature. Completing the costume are the scepter and shield she grasps in her hands. The dwarf at her side may be a court attendant. The hieroglyphic text refers to important dynastic dates.
Mesoamerica, Guatemala, Department of the Petén, El Perú (also known as Waka'), Maya (250-900), Classic period (200-1000)
limestone
Overall: 274.4 x 182.3 cm (108 1/16 x 71 3/4 in.)
Did you know...
The powerful Maya queen shown on this stela is known as Lady K’abel.
Purchase from the J. H. Wade Fund