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America, 19th century
monotype
Gift of Mr. and Mrs. Ralph L. Wilson in memory of Anna Elizabeth Wilson
Samplers were created as a mark of achievement in needlework by young ladies as they progressed in their education. Because they display levels of skill and technique, samplers often include figurative or scenic decoration along with the alphabet and various horizontal and vertical patterns that could serve as guides for future stitching. Most samplers reveal the pride of a young lady as she showed off her considerable accomplishment in sewing and were treasured from generation to generation.
Germany, late 18th century
embroidery; silk on linen
Overall: 101.6 x 30.5 cm (40 x 12 in.)
Did you know...
This unusually long sampler depicts scenes from the biblical Old Testament, including Eve tempting Adam with an apple.
The Mary Pack McNairy Collection, Gift of Gladys McNairy White and Elisabeth McNairy Monroe in memory of their mother
29 3/8 x 25 1/4 in. (74.6 x 64.1 cm)
medium: Satinwood, mahogany, tulip poplar
Metropolitan Museum of Art, New York, NY 1986.84.2 1986
Gift in loving memory of Gardner D. Stout, from his wife and children, 1986
Only one half of this hollow cross survives.
Byzantine
H: 3 3/4 x W: 2 1/16 in. (9.5 x 5.3 cm)
medium: cast bronze
culture: Byzantine
dynasty: Macedonian Dynasty
Walters Art Museum, 1946, by purchase.
Part of an expatriate community in Venice, James McNeill Whistler focused on the city’s architectural details in the prints, drawings, and paintings that he made during a year spent living there. This etching presents a private garden from the perspective of one of the city’s distinctive canals. Seen through an open doorway, the view, offers a voyeuristic glimpse of its inhabitants’ lives. Situated outside and looking into a lush garden, the viewer is placed in the artist’s position, able to feel his excitement as an outsider exploring a new but historied place.
America, 19th century
etching and drypoint
Did you know...
This print is among the only ones in James McNeill Whistler's <em>Second Venice Set</em> without a clearly identifiable setting.
Gift of Mr. and Mrs. Ralph King
The jasperware medallions showing sacrificing priestesses were designed by Lady Templetown and Miss Crew for Josiah Wedgwood's factory, Etruria. They have been mounted in metal frames with faceted steel studs, a specialty of Matthew Boulton's factory in Birmingham.
H: 2 1/2 x W: 2 5/16 in. (6.4 x 5.8 cm)
medium: jasperware, steel, tin
style: Neoclassical
Walters Art Museum, 1931, by bequest.
This album contains illustrations for the classic literary work the <em>Tale of Genji,</em> authored in the 1000s by Murasaki Shikibu, an aristocrat of the Heian period (794–1185) court. The scenes are painted in the “white drawing” (<em>hakubyō</em>) mode, in which a fine ink line is used to depict figures and spaces with great subtlety, punctuated only occasionally by traces of red pigment for a character’s lips, a detail of a garment, or a decorative element. These two scenes illustrate episodes from the chapters “Thin Veil of Cloud” (Usugumo) and “Barrier Gate” (Sekiya).
Japan, Edo period (1615–1868)
Double-sided accordion-style album of 17 leaves; ink, light color, and gold on paper
Each leaf: 26.3 x 22 cm (10 3/8 x 8 11/16 in.); Painting only: 17 x 20.6 cm (6 11/16 x 8 1/8 in.)
Did you know...
The illustrations are identified by chapter title in cartouches to the upper right of the paintings.
Gift of Vera Sterne in memory of her husband, Maurice Sterne
23 1/4 x 23 1/2 in. (59.1 x 59.7 cm)
medium: Brass, iron
Metropolitan Museum of Art, New York, NY 46.67.126 1946
Gift of the Members of the Committee of the Bertha King Benkard Memorial Fund, 1946
China, Qing dynasty (1644-1911)
Satin weave silk with gold metal thread embroidery; supplementary weft; black velvet; metal (brass?); lined in blue silk; feather
General Income Fund