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In the process of mummification certain organs, the liver, lungs, stomach, and intestines, were removed, embalmed separately , and stored in jars known as canopic jars. Although this jar and another from the collection (1914.630) were presumably from the same individual and therefore the same set, they differ in their materials, workmanship, size, and style of inscriptions. Made of a different limestone this jar, the smaller of the two, has a lid in the form of a rather ludicrous male head. It is clearly by another hand. A sizable fragment is lost from the body. IN contrast to the poor quality of the head, the handsome inscription on the body is deeply cut and filled in with a blue pigment. It reads, "[Words spoken by Nephathys:] 'May your arms embrace that which is in you. May you protect Hapy, who is in you, and the honored one before Hapy, the Osiris, the royal herald, Gregmennefer, vindicated."
Egypt, New Kingdom (1540–1069 BCE), Dynasty 18
limestone
Diameter: 18.4 cm (7 1/4 in.); Diameter of mouth: 10.2 cm (4 in.); Overall: 39.7 cm (15 5/8 in.)
Did you know...
Canopic jars are named after the Greek sailor Canopus, who was said to be buried at Canopus (Abuqir) in the western delta and worshipped there in the form of a human-headed jar. It was actually a form of Osiris and had nothing to do with internal organs, but the term has stuck.
Gift of the John Huntington Art and Polytechnic Trust
John William Hill
American (born England), London 1812–1879 West Nyack, New York
1 11/16 x 4 3/8 in. (4.3 x 11.1 cm)
medium: Watercolor and gum arabic on off-white wove paper
Metropolitan Museum of Art, New York, NY 82.9.3 1882
Gift of J. Henry Hill, 1882
Both continuity and change are reflected in this portrait bust initially carved for a ruler of the Middle Kingdom and then re-carved for a New Kingdom monarch. There was a marked change between the way late 12th Dynasty and mid 19th Dynasty kings were represented. The pharaohs of the 12th Dynasty wished to present an experienced and careworn expression. This is conveyed by heavy eyelids, wrinkles, and a firm set to the mouth. The pharaohs of the 19th Dynasty, however, wanted their images to suggest youth, vigor, and confidence. To transform a Middle Kingdom royal image into a New Kingdom one, sculptors re-carved the face. The eyes, nose, and forehead of this sculpture show evidence of reworking to erase signs of age, while the corners of the mouth were deeply drilled to make the cheeks appear rounder and to bring the lips closer to the slight smile typical of 19th Dynasty royal sculpture.
Egyptian
8 11/16 x 7 5/16 x 4 5/16 in. (22 x 18.5 x 11 cm)
medium: anorthosite gneiss
culture: Egyptian
dynasty: 12th Dynasty, 19th Dynasty
reign: Sesostris III-Amenemhat III, Ramesses II
Walters Art Museum, 1931, by bequest.
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
"The most favorable time to view these Lakes (to an artist especially) was early in the morning or towards sunset;- at these times one side or the other would be thrown into deep purple masses, throwing great broad shadows, with sharp light glittering on the extreme tops,- while the opposite mountains received its full complement of awrm, mellow & subdued light;- thus forming a chiaro obscuro and contrast most essential to the picturesque in color:- an attempt has been made to reach this in the sketch. This was the only lake we saw that had an island;- the scene in reality was charming, but would have required the pencil of Satnfield, Turner, or Church in giving it due effect and rendering it complete justice. Patiently it awaits the coming man." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 9 1/8 x W: 12 3/16 in. (23.2 x 30.9 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
On the right side of this tsuba, a tiger is perched on a cliff. While tigers are not native to Japan, they have long been known through Chinese painting. The tiger is often a symbol of strength. The reverse of this tsuba shows two pine trees under a gibbous moon.
Japanese
3 5/16 x 3 1/8 x 3/16 in. (8.35 x 7.88 x 0.45 cm)
medium: iron, shibuichi, gold, silver, shakudo
style: Otsuki School
culture: Japanese
Walters Art Museum, 1931, by bequest.
As early as the seventh century, the practice of drinking tea and wine became an important part of elite culture in Korea. Once used to store alcoholic beverages, this type of vase features a wide body followed by a sharply rounded shoulder, a short neck and a small opening. Most of the remaining examples no longer have a lid, but originally it may have had a lid that not only covers the opening, but also served as a cup.
Korea, Goryeo dynasty (918–1392)
Celadon ware with inlaid white and black slip decoration
Overall: 33 cm (13 in.)
Did you know...
Prunus vases are often believed to contain a branch of plum blossoms, but recent research reveals that these lidded vases were also used to contain cooking liquid such as sesame oil.
Gift of John L. Severance
William Rickarby Miller
American (born England), Staindrop 1818–1893 Bronx, New York
20 3/8 x 14 in. (51.8 x 35.6 cm)
medium: Watercolor, pen and ink, graphite, gouache, and gum arabic on tan wove paper
Metropolitan Museum of Art, New York, NY 1992.289 1992
Purchase, Terner Foundation Gift, in memory of Stephen D. Rubin, 1992
Electrum eyes. Double plume, disc. Right arm raised, left arm before body, to hold lance. Broken from base. Inscription around base.
Egyptian
H: 4 7/16 x W: 1 7/16 x D: 1 1/4 in. (11.32 x 3.69 x 3.15 cm)
medium: bronze cast, electrum
culture: Egyptian
dynasty: 19th-22nd Dynasty
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
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Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.
"Among these wandering tribes 'eternal vigilance is the price of safety.' During our whole journey, scarcely a day passed that we were not conscious of being under the surveillance of unseen eyes. From the tops of bluffs, on the prairie lying in the long grass, behind trees, and in the midst of bushes, our every movement was noted and reported at headquarters. In civilized life we appreciated the industry of that active person Mrs. Grundy, but in the matter of inquisitiveness our North American Indians surpass her,- the motive is different however." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 8 13/16 x W: 12 3/8 in. (22.4 x 31.4 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
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Winslow Homer
American, Boston, Massachusetts 1836–1910 Prouts Neck, Maine
13 15/16 x 20 15/16 in. (35.4 x 53.2 cm)
Framed: 24 1/2 x 30 1/2 in. (62.2 x 77.5 cm)
medium: Watercolor and graphite on off-white wove paper
Metropolitan Museum of Art, New York, NY 10.228.10 1910
Amelia B. Lazarus Fund, 1910
Folding triptychs like this were used for private devotion. The enthroned Madonna and Child are flanked by (left to right) Sts. Nicholas, Bartholomew, Catherine of Alexandria, Anthony Abbot, Francis, and Lucy. This composition uses the metaphor of a queen surrounded by her courtiers to depict the Virgin in her role as the Queen of Heaven. The painter simulated the gold embroidered cloth of the Virgin's throne by scratching away the white paint to reveal the underlying gold leaf, which has been pricked to enhance its reflectivity.
Because few artists during this period signed their works, scholars sometimes identify them by their most impressive painting. Here, this anonymous master is known for an altarpiece he created for a church in Panzano, Tuscany, Italy.
For more information on this piece, please see Zeri catalogue number 27, pp. 46-47.
H: 19 7/8 x W: 19 1/2 x D: 3/4 in. (50.5 x 49.5 x 1.9 cm)
Central panel painted surface H: 19 7/8 x W: 9 3/4 in. (50.5 x 24.7 cm)
Left wing painted surface H: 18 11/16 x W: 4 13/16 in. (47.5 x 12.3 cm)
Right wing painted surface H: 18 11/16 x W: 4 3/4 in. (47.5 x 12 cm)
medium: tempera and gold leaf on panel
style: International Gothic
Walters Art Museum, 1931, by bequest.