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This steatite scarab is the bezel of a finger ring. Its flat underside is incised with a vertically arranged design of a pair of facing, connected "Udjat" eyes with script signs below. The design of the back of the scarab is simple with short and aligned carved side-notches and a well proportioned layout. The workmanship of the piece is slightly rough and it is not very carefully made.
This scarab originally functioned as an amulet. It should protect the life and regeneration of its owner and provide divine support. The piece was originally mounted or threaded.
The very stylized shape of "Udjat"-eye-pair was common in the late Middle Kingdom and the Second Intermediate Period.
Egyptian
H: 3/8 x W: 11/16 x L: 15/16 in. (0.9 x 1.8 x 2.4 cm)
medium: light brown steatite with green-blue glaze and bronze setting
culture: Egyptian
dynasty: 15th Dynasty
Walters Art Museum, 1931, by bequest.
bold-patriotic-official
the white and the black letters of the FDA contrast greatly between each other giving it a bold statement, the eagle is representation of government offiicials, business and the old standard of american justice and regulations that corporate brings
This relief decorated the short end of a sarcophagus (stone coffin). It shows a herdsman accompanied by his dog, a sheep, and a goat. The long side of the sarcophagus, now lost, would have depicted the Greek myth of Endymion, a handsome shepherd with whom the moon-goddess Selene fell in love. She granted him eternal sleep and youth and visited him at night. The herdsman depicted here mourns his friend's seeming death.
Roman
20 1/2 x 21 7/8 x 3 9/16 in. (52.1 x 55.6 x 9.1 cm)
medium: marble
culture: Roman
Walters Art Museum, 1931, by bequest.
This suite of color lithographs collected Pierre Bonnard’s observations of city life, ranging from animated street scenes to distant observations glimpsed from the artist’s Montmartre studio window. Rather than memorializing the famous monuments of Paris, Bonnard preferred to depict small neighborhood scenes populated by urbanites shopping and strolling and by vendors selling their wares. The setting for one of the prints is the second-largest public park in Paris, the Bois de Boulogne, which was a popular place for families to relax, stroll, and enjoy carriage rides around the lakes. Two prints are nocturnal scenes in which gaslight emanating from shop windows is reflected on the wet streets, creating passages of bright yellow in the otherwise dark compositions. Bonnard’s favorite subjects, such as the Parisienne—a young, fashionable, modern woman—as well as children and dogs, appear repeatedly throughout the prints in the suite.
France, 19th century
lithograph
Sheet: 40.7 x 53 cm (16 x 20 7/8 in.); Image: 31 x 46.5 cm (12 3/16 x 18 5/16 in.)
Gift of the Hanna Fund
In this watercolor, acrobats and circus jugglers emerge from a complex pattern of shapes and colors. Two jugglers share a face and torso. A member of Der Blaue Reiter group in Munich, Paul Klee believed that the elements of color and shape alone could carry connotations of emotions, moods, and subjective feelings. His method was to begin painting without a subject, only settling upon something that could be recognized after layering colored form upon colored form.
Germany, 20th century
watercolor
Sheet: 24 x 23.5 cm (9 7/16 x 9 1/4 in.); Secondary Support: 34.5 x 29.3 cm (13 9/16 x 11 9/16 in.)
Contemporary Collection of The Cleveland Museum of Art
H. 6 5/8 in. (16.8 cm); Diam. 4 7/8 in. (12.4 cm)
medium: Earthenware with cord-marked and incised decoration (Tokoshinai 5 type)
Metropolitan Museum of Art, New York, NY 1975.268.376 1975
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
These brooches functioned as garment clasps (much like the generally larger fibulae) and are distinctive for their decorative enamels. The art of enameling was highly popular among the conquered peoples who lived on the outskirts of the Roman empire, chiefly the Celts and the Gauls. Though the enameling technique was practiced by the Romans themselves on small objects, the brightly colored decoration readily appealed to "barbarian" taste. By the AD 200s, enameled brooches like these were being made in abundance by the native peoples of Britain and Gaul (modern France and Belgium).
Gallo-Roman or Romano-British, Migration period
bronze and champlevé enamel
Overall: 5.3 x 5.3 x 1.6 cm (2 1/16 x 2 1/16 x 5/8 in.)
Purchase from the J. H. Wade Fund
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: 9 1/4 x W: 5 1/8 in. (23.5 x 13 cm)
medium: pencil, ink, and wash on white paper
given to Walters Art Museum, 1994.
[1] passed directly from the artist down through his family.
Madrazo reached the pinnacle of his success at the 1878 Exposition Universelle, where he was proclaimed the successor to his brother-in-law Mariano Fortuny as the foremost contemporary Spanish painter. In this work, he displays his dramatic sense of color, mastery of atmospheric effects, and technical skill.
This painting explores the inequalities of modern life; the population of 19th-century European cities ballooned as rural workers migrated to urban environments looking for employment. The artist highlights the social and economic disparities that resulted. As wealthy, fashionably dressed women leave a church, they pass numerous men and women seated on its steps who have no source of income and are asking them for money.
H: 25 3/16 x W: 39 3/8 in. (64 x 100.01 cm)
Framed H: : 37 13/16 × W: 51 15/16 × D: 4 15/16 in. (96 × 132 × 12.5 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
Vasari may have painted this biblical scene as well as three others (Walters 37.1177, 37.1705, 37.1704) in brown monochrome as a study for related compositions in a series of 18 larger, multicolor panels representing the correspondences between the Old and New Testaments made in 1545-1546 for the sacristy of the church of San Giovanni a Carbonara in Naples. Vasari's skill with the pen comes out in the preliminary drawings, visible in The Fall of Manna, to which he added layers of paint with his brush and fingers.
These particular subjects relate to the establishment of the Holy Eucharist (Communion), when the priest at the altar symbolically re-enacts the sacrifice of Christ. This episode from Genesis foreshadows Christ's sacrifice or the role of bread as sustenance and as an offering. Abraham returns from battle having freed his brother from the enemy and is met by the high priest Melchizedek, who offers him bread and wine.
Painted surface H: 12 5/8 x W: 33 9/16 x D excluding cradle: 3/8 in. (32.1 x 85.2 x 1 cm)
medium: oil and tempera on panel
Walters Art Museum, 1931, by bequest.
This squat lekythos depicts Eutychia, Eunomia, and Paidia. On the left Eutychia stands frontally, looking right. She holds a chest on her left forearm at waist level; her right hand hangs down by her side holding a necklace. She wears a girded peplos, diadem, necklace, earring, and bracelets. Next is Eunomia who walks solemnly to the right, holding a necklace between her outstretched hands. She wears a girded peplos, necklace, bracelets, earring, diadem and a decorated band which holds her hair in place. On the right Paidia stands turned partially to the left, holding a chest. She wears a girded peplos, necklace, earring, and bracelets; her hair is tied in back. A diphros with a thick, patterned cushion stands beside her.
The personifications on this vase, from left to right are to be understood as Good Luck, Good Order, and Games and Play. They are depicted as normal Athenian women and do nothing which might associate their actions with the literal meanings of their names.
Greek
H: 8 x Max. Diam: 4 1/2 in. (20.3 x 11.4 cm)
Diam at mouth: 1 11/16 in. (4.3 cm)
Diam at foot: 3 5/16 in. (8.4 cm)
medium: terracotta
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
The ancient Egyptians donated figures of their gods for use in temple rituals; smaller images served as amulets to ensure divine protection. Goddesses in particular were viewed as protective deities. From earliest times, Egyptian venerated a wide circle of feline-headed female deities, such as Sakhmet, Tefnut, Wadjet, and Bastet. Leonine goddesses, usually Sakhmet or Wadjet (daughters of the sun-god Re), were often associated with an obelisk - a symbol of the sun god - demonstrating both their close relationship to the supreme god and his powers of renewal.
Egyptian
H: 10 3/16 x W: 2 7/8 x D: 4 5/8 in. (25.9 x 7.3 x 11.7 cm)
H with tangs: 11 x W: 2 7/8 x D: 4 5/8 in. (27.9 x 7.3 x 11.7 cm)
H with base: 12 5/16 x W: 3 5/16 x D: 7 1/2 in. (31.2 x 8.4 x 19.1 cm)
medium: bronze
culture: Egyptian
dynasty: 26th-30th Dynasty
Walters Art Museum, 1931, by bequest.
Pissarro, son of the French Impressionist artist Camille Pissarro, moved to England in 1890. By 1894 he and his wife, Esther Bensusan Pissarro, had bought a printing press and established the Eragny Press. Influenced by William Morris, they were involved in every step of the production process: designing, cutting the woodblocks, setting type, and printing. The first book published by Ergany Press, The Queen of the Fishes, is based on an old fairy tale in which a peasant boy and girl escape the hardships of their lives by fantasizing that they have been turned into a giant oak and a splendid fish, respectively.
England, 19th century
woodcut printed in gray
Book page: 19.2 x 13.3 cm (7 9/16 x 5 1/4 in.)
Gift of Henry H. Hawley for the fiftieth anniversary of The Print Club of Cleveland
Gaggini was a member of a large family of sculptors whose Palermo workshop supplied monumental religious sculptures for the cathedrals of Palermo and Messina in Sicily and Montelione in Calabria. After 1507 Antonello himself worked for 15 years to produce marble sculptures for Palermo Cathedral. This figure of the legendary virgin martyr, Saint Margaret, was probably commissioned for one of these ecclesiastical foundations, possibly the chancel of Palermo Cathedral. The saint is shown reading from a book of hours (a sign of her piety) and trampling upon a dragon, the symbol of Satan. The dragon became the attribute by which she is recognized in sacred art.
Italy, Sicily, Palermo, 16th century
marble
Overall: 139.7 x 54.6 x 18.2 cm (55 x 21 1/2 x 7 3/16 in.)
Purchase from the J. H. Wade Fund
Within a roundel are a pair of mounted Amazons, addorsed and shooting backward at lions, which attack their running horses. The roundel frame is filled with stylized floral motifs and is bordered on the inside by a band of tiny hearts and on the outside by a guilloche. At the four axial points, smaller circles with the same design as the border of the roundel are superimposed. Only a fragment of foliate motif of the interstices remains. The design is ecru on deep bluish-purple.
Egypt or Syria(?)
samite: silk
Overall: 22.2 x 23.5 cm (8 3/4 x 9 1/4 in.); Mounted: 31.1 x 31.8 cm (12 1/4 x 12 1/2 in.)
Purchase from the J. H. Wade Fund
In creating luxurious accessories for a desk or tabletop, Fabergé often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Fabergé and his craftsmen brought them to life, turning milky agate into a begging poodle or green and black jasper into this parrot. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.
Russia, St. Petersburg
jasper, agate, emeralds
Overall: 15.3 x 7.4 cm (6 x 2 15/16 in.)
Did you know...
This parrot is part of a figure that includes a perch for the bird to sit upon.
The India Early Minshall Collection
Go to Page 21 in the Internet Archive
Title: Descriptive zoopraxography; or, the science of animal locomotion made popular : with selected outline tracings reduced from some of the illustrations of "Animal Locomotion" an electro-photographic investigation of consecutive phases of animal movements, commenced 1872, completed 1855, and published, 1887, under the auspices of the University of Pennsylvania. Published as a memento of a series of lectures given by the author under the auspices of the United States Government Bureau of Education at the World's Columbian Exposition, in Zoopraxographical Hall 1893
Creator: Muybridge, Eadweard, 1830-1904
Creator: Muybridge, Eadweard, 1830-1904, Inscriber
Creator: Royal College of Physicians of London
Publisher: Chicago, Illinois : Lakeside Press
Sponsor: Jisc and Wellcome Library
Contributor: Royal College of Physicians, London
Date: 1893
Language: eng
Description: Cover title: Zoopraxography or the science of animal locomotion
Printer's colophon on verso of t.p
A photographic investigation of animal movements
Includes bibliographical references
This material has been provided by Royal College of Physicians, London. The original may be consulted at Royal College of Physicians, London
Royal College of Physicians, London
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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