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3 1/2 x 1 15/16 x 1 1/4 in. (8.9 x 4.9 x 3.2 cm)
medium: Two cases; lacquered wood with gold and silver hiramaki-e, togidashimaki-e, gold foil cutouts, and colored ivory inlay on gold lacquer ground Netsuke: kagamibuta type, bamboo with sparrow; wood and metal Ojime: blue-and-white porcelain bead
Metropolitan Museum of Art, New York, NY 13.67.79 1913
Rogers Fund, 1913
In this image, a couple embraces in
a garden. The man’s dress indicates that he
is a German mercenary, who were chastised
for loose morals in many prints of the period.
The twiglike laurel wreath on his head is a
mocking emblem of victory in love and war.
His partner meets his gaze and guides his
hands, wearing long hair, an open bodice,
and a hitched-up skirt suggesting sexual
availability. Resonating with Edenic and love
garden images, the subject likely operated on
the edge of decency for its audience.
Germany, 16th century
etching
Image: 22 x 15.6 cm (8 11/16 x 6 1/8 in.); Sheet: 24.1 x 17.5 cm (9 1/2 x 6 7/8 in.)
Dudley P. Allen Fund
The horse was a favorite artistic subject in ancient Iran, where horsebreeding flourished. This muscular Sasanian stallion was descended from the royal and sacred Nisean breed of the Achaemenian Persians. Although Sasanian horse-trappings were elaborate, they did not include stirrups for mounting. In this rendition, the steed lies still, as camels in the Near East do today, waiting for its rider to mount. The medallions on each shoulder contain busts, perhaps of rulers of different parts of the Sasanian Empire, holding their rings of authority.
Iran, Sasanian Empire (224–651 CE)
silver, partially gilt
Overall: 12 x 10.8 x 32.7 cm (4 3/4 x 4 1/4 x 12 7/8 in.)
John L. Severance Fund
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Brentford Ferry, 1864. Francis Seymour Haden (British, 1818–1910). Etching and drypoint; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.190
More at clevelandart.org/art/2016.190
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An enameled gold pomander, the round base with a mottled grey crouching monkey chained to a tree trunk, an apple in his paw, within a vari-colored wreath of raised sprigs of fruit and flowers, the hinged pierced back with a flat wreath round a central rosette "en suite," containing the pad which was impregnated with musk and other aromatic substances. Four hanging chains attached to a corona with four applied cinquefoils and a suspension loop.
The pomander retains its original box 73.6.
Diam: 1 1/8 in. (2.8 cm)
medium: gold, enamel, gem
Henry Walters, Baltimore, 1913, by purchase, Walters Art Museum, 1931, by bequest.
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
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
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This commode bears the stamp of François Gaspard Teuné, who became a master "ébéniste" (cabinetmaker) in 1766 and often received commissions from the count of Artois, brother of King Louis XVI.
In style, the piece represents the transition from Rococo to Neoclassicism. The front is divided into a central section inlaid with an urn and two lateral sections with a trellis pattern, known as "marqueterie à la Reine."
H:: 48 7/16 × L: 63 3/8 × D: 35 7/8 in. (123.03 × 160.97 × 91.12 cm)
medium: sycamore, tulipwood, other woods, bronze-gilt, brecciated marble
Walters Art Museum, 1970, by purchase.
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L’Illustration: On Cats by Jacques Dalbray, 1901. Théophile Alexandre Steinlen (Swiss, 1859–1923). Color lithograph illustration with letterpress; overall: 39.5 x 58.2 cm (15 9/16 x 22 15/16 in.). The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.247
More at clevelandart.org/art/2016.247
Portrait of a Man (Portrait d'un homme), 1898 (printed 1927). Henri de Toulouse-Lautrec (French, 1864–1901). Drypoint; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.252
More at clevelandart.org/art/2016.252