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The proportions and balance of this pistol, including the "fishtail" butt curving around the hand, are visually pleasing and also make this 3 lb. 5.3 oz. gun easier to handle. The relative crudeness of the manufacture, including the inlaid decoration taken from a pattern book, indicates that the pistol was made for a cavalryman as opposed to an aristocratic officer. There are two marks stamped on the pistol: the maker's mark, which, although found on other guns, has not been identified; and the control mark on the barrel, indicating that it has been inspected for quality in Nuremberg.
L: 22 7/16 in. (57 cm)
medium: steel or iron, wood (walnut), bone or antler and engraved mother-of-pearl inlay; parts replaced
Walters Art Museum, 1931, by bequest.
Bellows was no stranger to Sharkey’s Athletic Club, a raucous saloon with a backroom boxing ring, located near his studio. Founded by Tom “Sailor” Sharkey, an ex-fighter who had also served in the US Navy, the club attracted men seeking to watch or participate in matches. Because public boxing was illegal in New York at the time, a private event had to be arranged in order for a bout to take place. Participation was usually limited to members of a particular club, but whenever an outsider competed, he was given temporary membership and known as a “stag.” Although boxing had its share of detractors who considered it uncouth at best or barbaric at worst, its proponents—among them President Theodore Roosevelt—regarded it a healthy manifestation of manliness. Around the time Bellows painted <em>Stag at Sharkey’s, </em>boxing was moving from a predominantly working-class enterprise to one with greater genteel appeal. For some contemporaries, boxing was a powerful analogy for the notion that only the strongest and fittest would flourish in modern society.
America, 20th century
oil on canvas
Framed: 110 x 140.5 x 8.5 cm (43 5/16 x 55 5/16 x 3 3/8 in.); Unframed: 92 x 122.6 cm (36 1/4 x 48 1/4 in.)
Did you know...
George Bellows was raised in Columbus, Ohio, and attended Ohio State University where he played baseball and basketball.
Hinman B. Hurlbut Collection
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Tairona-style pendants are among the most spectacular of all ancient American gold ornaments, in part because of the detail achieved with lost-wax casting. The traits of the figure pendant include a lower lip ornament and a headdress in which two bats hang upside down. Although called <em>caciques</em> (chieftains), that is, ruler portraits, the meaning of such figures is not well understood. Bird imagery was important in the isthmian region in ancient times and remains so today. For instance, among the modern Bribri of Costa Rica, the principal creator deity (Sibo) takes the form of a buzzard or kite who wears a collar. Collars are standard features of ancient bird pendants, like the one shown here.
Colombia, Tairona
cast gold
Overall: 8.1 x 6.3 x 3.6 cm (3 3/16 x 2 1/2 x 1 7/16 in.)
In memory of Mr. and Mrs. Henry Humphreys, gift of their daughter Helen
Portable altars were used by Christians to celebrate the Mass while traveling. On one long side is depicted the Baptism of Christ, attended by a veiled woman, possibly representing the Church, and Christ in Majesty, surrounded by Evangelist symbols. On the other long side, John the Baptist and the Holy Women at the Tomb are shown. Originally, the figure of John the Baptist was part of the Baptism scene, but he was mistakenly placed with the Holy Women when the 11th-century plaques (perhaps from an altar panel) were reused in the 12th century to make this portable altar. A pair of apostles decorate both short sides. The rough, square opening at one end was made later, to remove the relic once sealed inside.
German
Overall: H: 7 1/2 × W: 13 3/8 × D: 7 5/8 in. (19 × 34 × 19.3 cm)
medium: gilded copper, enamel, porphyry
style: Romanesque
culture: German
Walters Art Museum, 1931, by bequest.