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The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
This scarab is a so-called Heart scarab which was used for the deceased. The linearly incised bottom inscription contains spell 30 B of the Book of the Dead. The left reading text is displayed in ten lines, separated by nine, very straight text-divider, and framed by an oval line. The hieroglyphs are less detailed and slightly irregular. The layout is well organized, and the signs evenly spaced. The back of the scarab is very high, and the highest point at the partition between pronotum (dorsal plate of the prothorax) and elytron (wing cases). Both parts have incised borderlines, a slightly curved double partition lines, and a triple division line between the wing cases. The rectangular head is flanked by quarter-spherical, two-stage eyes with lid markings. The side plates and the clypeus (front plate) are trapezoidal. On the left wing case is an inscription with name and title of the owner: "the priest of Amun: Bak-en-Djehuti," and on the right wing case a crossed lines pattern and a formula wishing him life. The style of the inscription on the back differs from that on the bottom, and it is most likely that the text on the back with the individualization was added later by another hand. The crossed lines on the right wing case are less deeply incised, and might have been added later, only the ankh-sign (meaning "life") looks similar to the inscription on the left wing case. The extremities have natural form, and vertical and diagonal hatch lines for the tibial teeth and the pilosity (hair). The low, oval base is slightly asymmetrical and has a smaller head.
The scarab was produced to be placed in the wrappings of a mummy. It was individualized by his name of the deceased: Bak-en-Djehuti. Such funerary amulet should cause the renewal of the deceased, and support him in the Weighing of the Heart procedure in the Judgement hall of the underworld.
Egyptian
H: 11/16 x W: 1 1/16 x L: 1 1/2 in. (1.8 x 2.7 x 3.8 cm)
medium: grey-green greywacke
culture: Egyptian
dynasty: 18th-19th Dynasty
Walters Art Museum, 1931, by bequest.
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Egypt, Byzantine period
tabby weave with inwoven tapestry ornament, linen and wool
Overall: 64.1 x 38.7 cm (25 1/4 x 15 1/4 in.); Mounted: 71.1 x 45.7 cm (28 x 18 in.)
Gift of Henry Hunt Clark
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
Saint Anthony (c. AD 251–356) was an Egyptian hermit known for having established the ideal of monasticism, seclusion, and meditation in Christianity. According to the Life of Saint Anthony written by the 20th bishop of Alexandria Athanasius (c. AD 360), Anthony was assaulted by several demons and tormented by erotic visions during his retreat to the Eastern Desert of Egypt. Martin Schongauer's print marks the very moment in which a highly animated demonic attack took place in the sky. Nine whimsical monsters—composed of reptilian, mammalian, and fish- and bird-like parts—flap, blow, and grasp a stiff and indifferent Saint Anthony. With his firm discipline, the saint epitomizes the Christian's struggle to resist evil temptations.
Germany, 15th century
engraving
Sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.)
Did you know...
Prints of Saint Anthony like this one were believed to function as protective tools against ergotism (also called St. Anthony's Fire), a disease causing painful putrefaction of the limbs cased by fungus found on rye.
Dudley P. Allen Fund
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.
Japan
lacquer, nacre and metal
Overall: 15.9 x 20.3 cm (6 1/4 x 8 in.); Outer diameter: 9.3 cm (3 11/16 in.)
Gift of Stouffer Restaurant-Inn Corp.
Egypt, Greco-Roman period (332 BCE–395 CE) or modern forgery
sandstone
Diameter: 9.5 cm (3 3/4 in.); Overall: 57.4 x 46.3 x 11 cm (22 5/8 x 18 1/4 x 4 5/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
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.
19 1/2 x 27 1/2 in. (49.53 x 69.85 cm)
medium: Silk
Metropolitan Museum of Art, New York, NY 60.110 1960
Gift of Ichiji Yasuma, Chief Steward of Yakushiji, 1960
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Alfred Jacob Miller was a prolific sketcher. He filled many journals with drawings and captions from the time he was studying in Paris and Rome (1833) until the 1870's. The varied interests of Miller are clearly reflected in these sketches: rural sites, studies after Old Master paintings, illustrations of literature, and comical scenes and characters.
This sketch comes from the family album of L. Vernon Miller, which contains works that have passed down through the Miller family directly from the artist.
H: 7 5/8 x W: 9 3/4 in. (19.4 x 24.7 cm)
medium: pencil, ink, and wash on paper
given to Walters Art Museum, 1994.
[1] passed directly from the artist down through his family.
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.
Robert Besnard and His Donkey (Robert Besnard et son âne), 1888. Albert Besnard (French, 1849–1934). Etching and aquatint; platemark: 23.6 x 18.1 cm (9 5/16 x 7 1/8 in.); sheet: 28.8 x 21.7 cm (11 5/16 x 8 9/16 in.). The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.106
More at clevelandart.org/art/2016.106
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.