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This exceptionally large and elaborate plaque depicts a human being costumed as a jaguar, with claws on hands and feet, and a jaguar-head helmet. At the Zapotec capital, Monte Albán, dignitaries in feline garb are portrayed in several relief sculptures. A pendant similar to this one was found in an architectural dedicatory offering deposit at Monte Albán.
Mexico, Oaxaca, Zapotec, 6th-8th Century
jade
Overall: 15.1 x 7.3 x 0.7 cm (5 15/16 x 2 7/8 x 1/4 in.)
John L. Severance Fund
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund
The style and quality of this manuscript's decoration is typical of deluxe Parisian books made for aristocratic or royal patrons. Most of the book's decoration appears to be the work of the Master of the Boqueteaux, an artist active at the court of King Charles V (died 1380). His style was apparently shared by a number of book illuminators working in and around Paris. It is very possible that the <em>Gotha Missal</em> belonged to Charles V, but is not provable because the manuscript has no royal portraits and lacks a colophon. Given the book's magnificent decoration, however, it would seem that it was produced for a Valois prince, if not for the king himself. The manuscript receives its name from the German dukes of Gotha, its later owners.
France, Paris
ink, tempera, and gold on vellum; blind-tooled leather binding
Codex: 27.1 x 19.5 cm (10 11/16 x 7 11/16 in.)
Mr. and Mrs. William H. Marlatt Fund
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At the front of the ship, the young man calls out to the Hashimi, who sits beside the weeping slave girl. Despite their love, the destitute young man had been forced to sell the girl. She is overjoyed to see her long-lost lover and begins to sing so beautifully that the birds, fish, and the ocean itself join in the celebration.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 10.7 x 10.2 cm (4 3/16 x 4 in.)
Did you know...
Two black fish are visible in the swirling waters of the ocean.
Gift of Mrs. A. Dean Perry
This Russian embroidered panel was likely used to embellish the end of a bathing towel. Textiles of this type are valuable for their fine embroidery of ancient folk motifs, ritual significance, exemplification of the role of textiles in their society, and in this case, connection to a prominent woman collector, Natalia de Shabelsky, without whom this textile and others like it might have been lost.
Russia, Tambov province
Linen: plain weave; silk: embroidery
Overall: 13.3 x 41.2 cm (5 1/4 x 16 1/4 in.)
Did you know...
Embroidering the ends of everyday towels was a common folk tradition in many cultures because it displayed the skill of the mother or daughter who stitched them.
Gift of Jane Hammond
Forepaws raised in adoration, this ichneumon (a type of mongoose) was a votive gift to the cobra-goddess Wadjet. The dedication to her of a snake-eating mongoose may seem ironic, but it is in keeping with Egyptian concepts of association. The inscription on the base names the donor.
Egyptian
H: 6 3/16 x W: 1 13/16 x D: 2 in. (15.7 x 4.6 x 5.1 cm)
H with tang: 6 11/16 x W: 1 13/16 x D: 2 in. (17 x 4.6 x 5.1 cm)
medium: bronze
culture: Egyptian
dynasty: 26th-27th Dynasty
Walters Art Museum, 1931, by bequest.
Gifford was an American landscape painter belonging to the second generation of Hudson River school artists. Based in New York City with a studio at the Tenth Street Studio Building, Gifford took annual summer trips to the Catskills, the Adirondacks, and other scenic locations in New England. This sketchbook accompanied the artist on his expedition in 1859 to New Hampshire and Maine, where he drew sites such as Dixville Notch, the White Mountains, and Peaks Island, Casco Bay. Gifford used such graphite studies as the basis for oil paintings worked up in his studio, such as A Home in the Wilderness (1866).
America, 19th century
graphite
Sundry Purchase Fund