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Beautiful and Attractive Rose Pink Waterboony Deluxe with Exciting Black Trim and Vibrant Rose Pink! Made of 100% Cotton and water absorbent open cell neoprene / polyester materials for durability and great water absorbency. A wide 3 inch brim for added shade and protection from the sun. A stong chin strap for security and mesh grommets for superior air flow and ventilation.
This ceremonial axe (<em>gano</em>) showcases its maker’s skill in using different materials. The crescent-shaped blade was likely locally forged; braided wires and a Swiss pocket watch fragment on the handle were imported. Like the headrest nearby, gano were gendered female; a small headrest is carved at top. Too fine for battle, a man may have held it as a status or ancestral symbol during rituals or dancing. Though made for centuries, religious use of knives and axes waned due to early 20th-century Christianity and government laws. Rising independence-era Zimbabwean nationalism (1960s–70s) revived tradition-based religion and associated objects like the gano.
Southern Africa, Zimbabwe, Shona-style blacksmith-carver
Iron, wood, and metal
Overall: 15.8 cm (6 1/4 in.)
Did you know...
This ceremonial axe has a half-moon piece of metal nailed to it, marked "EKB Depose." It is part of the mechanism for a pocket watch made by Edward Kummer of Bettlach, whose Swiss factories marked watches with his initials between 1888 and 1932.
Gift of the African Art Sponsors of Karamu House
IM STRAPPED IN WITH A QUARTER POUND – SMACK/URL
battledomination.com/im-strapped-in-with-a-quarter-pound-...
This red-figure column-krater depicts the komos on both the front and back.
On the front left is a youth with a chlamys draped around his shoulders and a wreath around his head. He stands to the right holding in his left hand a lyre with a sash hanging from it; he leans on a staff held in the right hand. In front of him another youth with a chlamys draped in a similar fashion moves left, looking around. He carries a staff in his left hand diagonally across his chest, and with the right he manipulates his genitals. Next is a youth who stands to the right playing a barbiton from which a sash hangs. He holds the plectron in his right hand; the fingers of his left rest on the strings. A chlamys is draped over his left shoulder; he wears a thick fillet. In front of him stands a fourth youth who moves to the left, an oinochoe in his right hand, a kylix in his left. A chlamys is draped around his shoulders, and he wears a wreath.
On the back left is a mantled youth with a fillet who moves right, a kylix in his raised left hand and a staff in the right held diagonally across his lower body. His pursed lips and closed eye suggest that he is engrossed in song. In the center another mantled youth moves left. He holds a staff in his right hand over his shoulder, and tilts his head back as if also in song. On the right a third mantled youth moves left. He holds up an oinochoe in his right hand, and a skyphos in his left.
Greek
18 3/4 x 14 3/4 in. (47.6 x 37.5 cm) (h. x max. diam.)
at mouth: 14 13/16 in. (37.6 cm) (diam.)
at foot: 7 7/16 in. (18.9 cm) (diam.)
medium: terracotta; red figure
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
Iran, early Islamic period
bone, incised
Overall: 0.8 x 2.9 x 2.9 cm (5/16 x 1 1/8 x 1 1/8 in.)
Gift of Edward Gans
This leaf from a 1315 Syrian copy of Ibn al-Razzāz al-Jazarī’s <em>The Book of Knowledge of Ingenious Mechanical Devices</em>, written in 1206, depicts a peacock basin automaton for ritual hand washing. There are 15 surviving manuscript copies of al-Jazarī’s work, ranging from the early 13th to the late 19th century. An engineer from upper Mesopotamia, al-Jazarī was in the service of King Nasrī al-Dīn when he completed his masterwork, an anthology of automated devices including clocks, trick vessels for drinking sessions, devices for washing, fountains, water-raising machines, and measuring instruments. His designs clearly illustrate that automata were not innovations from Western Europe, but they stemmed from a tradition known in the ancient, Islamic, and Byzantine worlds. We do not know with certainty that al-Jazarī’s device was ever actually constructed.
Syria, Damascus, Mamluk Period, 14th Century
opaque watercolor and gold on paper
Overall: 31.3 x 21.5 cm (12 5/16 x 8 7/16 in.)
Did you know...
The mouth of the peacock acts as a spigot pouring water; the figure emerged from a small door and offers soap to the hand washer.
Purchase from the J. H. Wade Fund
This engraving is part of the group marked with the letter “B”, and named <em>Cosmic Principles and the Virtues</em>, which comprises the three Universal principles or <em>Genii </em>(Light, Time, and Space) alongside the four cardinal virtues (Prudence, Temperance, Fortitude and Justice) and the three theological ones (Faith, Hope, and Charity). The three allegorical figures of the <em>Genii </em>open group B and appear to be an artistic invention of the author of the Tarocchi series.<br> <br>Here, <em>Iliaco </em>(Genius or Spirit of the Sun) personifies the Sun which is thought to be the soul of the world. He is shown as a winged full-length male youth in profile, turned to left. Behind him is a distant forest. In his right hand, <em>Iliaco </em>holds up a sun-face.
Italy, Ferrara, 15th century
engraving
Did you know...
This is the second personification of the sun that appears within the set of Tarocchi, after the engraving displaying Apollo (1924.432.20) and before the one showing the sun as a star (1924.432.44).
Dudley P. Allen Fund
This plaque is probably one of several that decorated the side of a throne. The man's hair and costume are similar to those on the huge wall relief, and they are probably about the same date.
Assyrian, Iraq or possibly Syria
bronze, solid cast
Overall: 7.3 x 3.8 cm (2 7/8 x 1 1/2 in.)
Andrew R. and Martha Holden Jennings Fund
This bride's robe is exquisitely embroidered with various symbols of happiness in colorful silk threads. Butterflies stand for marital happiness; the phoenix, numerous offspring; and lotus flowers and white cranes, longevity. Yet, the bridal robe does not attest to the life of luxury. To the contrary, many traces of repairs, trimmings, and patchwork, reflect Joseon period women’s commitment to value neo-Confucian aesthetics of frugality and modesty. <br><br>Substantial repairs and patching reveal that this robe served as an important communal resource to be shared and passed down through several generations. Its collar and sleeves are covered in thick white paper; this paper is replaced with new paper for each bride, while the robe itself was reused for decades.
Korea, Joseon dynasty (1392–1910)
Silk: satin weave; embroidery; paper edging on neck and sleeves
Overall: 114.3 x 174 cm (45 x 68 1/2 in.)
Did you know...
This bride's robe is made of densely embroidered silk, but its collar and sleeves are covered in thick paper.
The Worcester R. Warner Collection
Eugène Isabey began his career assisting his father, the miniaturist J. B. Isabey, with illustrations for a travel book on Italy. In 1825, Isabey made a trip to England, where he was profoundly influenced by the latest trends in watercolor painting. On his return, he specialized in coastal scenes of Normandy, in the north of France. Here, Isabey depicts the luminous atmospheric effects at the meeting of sea, shore, and sky with the consummate skill that earned him a reputation as one of the leading Romantic watercolorists.
H: 7 11/16 x W: 13 9/16 in. (19.5 x 34.5 cm)
medium: watercolor heightened with white and gum on moderately thick, slightly textured, cream wove paper
by bequest to Walters Art Museum, 1931.
[1] The Diary of George A. Lucas, p. 178.
In this work, the artist depicts the figure in such a way that most of his face is obscured, creating a sense of mystery. Everything we know about the character of this man is expressed though his posture, clothes, and objects, like his bowl containing a few coins. Very little is known about Camino’s training; he visited Algeria in the early 1850s, which inspired the art he made in the decades that followed.
H: 12 3/8 x W: 8 1/4 in. (31.5 x 21 cm)
medium: watercolor over traces of graphite on cream, moderately thick, slightly textured wove paper
by bequest to Walters Art Museum, 1931.