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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.
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.
The Buddha sits surrounded by a circle of flaming jewels and full-blown lotus petals. Two rearing serpents emblematic of the glory of the Khmer Empire emerge from either side of his lotus pedestal. The Buddha’s right hand points down in the earth-touching gesture, and his left hand holds a round object, probably a special rice offering that indicates the Buddha’s power to ensure ongoing prosperity of the land. <br><br>The branches of the pipal tree under which the Buddha reached enlightenment top the composition. Beneath his lotus pedestal, the earth goddess wrings the waters from her hair that wash away the army of Mara, the grimacing demons holding clubs and shields who flee to either side.
Cambodia, reign of Jayavarman 7th
bronze
Overall: 42 x 16.6 x 3 cm (16 9/16 x 6 9/16 x 1 3/16 in.); Bottom: 20 x 18.5 x 3 cm (7 7/8 x 7 5/16 x 1 3/16 in.)
Andrew R. and Martha Holden Jennings Fund
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The underside of this Zuni (A:shiwi) jar (<em>olla</em>), made by a woman to collect and store water in the 1800s, curves upward to allow the jar to be carried atop the head. Today, this traditional skill is celebrated by the Zuni Olla Maidens, a nationally known dance group that performs while balancing ollas on their heads. Ollas naturally keep water cool via evaporation through their porous walls, a valuable trait in the desert Southwest. Many Zuni say that water from an olla tastes better than water from a tap.
Native North America, Southwest, New Mexico, Zuni (A:shiwi) Pueblo
ceramic, slip
Overall: 26.5 x 37.5 cm (10 7/16 x 14 3/4 in.)
Gift of the Smithsonian Institution
This work, perhaps the right wing of a diptych (two-panel painting), is one of only two known 14th-century paintings to combine painted panels with plaques of verre églomisé (gilded reverse painted glass). The Crucifixion at center and the Virgin at the top are verre églomisé by an unknown artist, while the images of numerous saints around them are panel paintings by Tommaso da Modena. The Crucifixion and the Virgin were scratched into gold leaf applied to the back of glass. The areas where the gold leaf had been removed were painted to clarify the scenes. This object doubles as a reliquary; the labels in red around the Crucifixion identify the relics enshrined within. These are the wood of the True Cross and a stone from the Holy Sepulcher (top), the bones of the 11,000 Virgins and one of the Magi (right), the bones of St. James the Apostle (bottom), the Apostle Andrew, the Evangelist Luke, and St. Peter and St. Paul (left).
Medieval European
H: 17 15/16 x W: 8 1/4 x D: 7/8 in. (45.56 x 20.96 x 2.22 cm)
medium: tempera and gold leaf on panel with marble, ceramic, and verre églomisé insets on a gilded wood frame
style: Gothic
culture: Medieval European
Walters Art Museum, 1931, by bequest.
Archaeological jewelry decorated with ancient and modern scarabs was popular in Europe during the second half of the 19th century. The Castellani workshop was famous for its copies of ancient jewelry, and this necklace has been attributed to Giacinto Melillo, one of Alessandro Castellani's apprentices and protégés (another similar necklace in the Walters Collection, 57.1530, bears his mark on the clasp). In 1865 Melillo took over Castellani's workshop in Naples, which Henry Walters visited in 1903.
L: 16 3/4 in. (42.5 cm)
medium: sard, gold, with granulation
Walters Art Museum, 1931, by bequest.
This magnificent enthroned Virgin and Child with four saints and two angels originally formed the center of a folding triptych, a three-part painting. The delicate punch-work in the haloes, costumes, and borders is typical of Sienese panel painting, and are effects derived from metalwork. Pietro Lorenzetti excelled at investing his sacred pictures with human qualities, such as the Christ Child's playful interaction with the bishop-saint on his right. The twisting pose of the Christ Child and the forward-leaning postures of the angels behind the throne are the invention of this remarkable painter and introduce a powerful sense of three-dimensional space into the scene. The varied burnishing and polishing techniques cause the gold background to react differently to light, creating a sense of depth and movement and evoking the preciousness of shimmering metal.
Italian
Panel H excluding added triangular wood at apex: 15 1/16 x W: 9 13/16 x D: 3/8 in. (38.3 x 25 x 1 cm)
Painted surface H: 14 3/8 x W: 8 7/16 in. (36.5 x 21.5 cm)
medium: tempera and gold leaf on panel
style: Gothic
culture: Italian
Walters Art Museum, 1931, by bequest.
The Hydra was a multi-headed snake-monster raised by the goddess Hera that lived in the swamps near Lerna. Up to fifty heads are reported for the creature in ancient sources, but it usually is depicted with fewer, as on this vase. Herakles, accompanied by his nephew Iolaos, killed this menace as the second of the Labors he had to perform for king Eurystheus. Herakles' lion skin protected him from the snake's venom, which he later used to make his arrows poisonous.
H: 6 15/16 x Diam: 2 11/16 in. (17.7 x 6.9 cm)
medium: terracotta
style: Attic
Walters Art Museum, 1931, by bequest.
[url=http://www.flickr.com/photos/risager/4998950325/][img]http://farm5.staticflickr.com/4149/4998950325_71218edc43_s.jpg[/img][/url]
[url=http://www.flickr.com/photos/risager/4998950325/]Amager Love[/url] by [url=http://www.flickr.com/people/risager/]Risager[/url], on Flickr
A herd of elephants is playing in a river when their leader is attacked by a crocodile. As this transpires, the elephant calls for the god Vishnu to save him. Because the elephant’s faith in Vishnu is sincere, the deity comes to his rescue. The story demonstrates the strength of genuine faith and Vishnu’s willingness to help the faithful. The image of the sun being pulled by a horse-drawn chariot at the top of the painting is one convention for depicting Surya, the solar deity in Hinduism.
H: 11 7/8 x W: 8 5/16 in. (30.2 x 21.1 cm)
Framed H: 20 1/8 × W: 15 3/16 × D: 1 1/4 in. (51.12 × 38.58 × 3.18 cm)
medium: opaque watercolor and gold on paper
Walters Art Museum, 2001, by gift.
The Three Bogatyrs, (1898) was among the popular works by Viktor Vasnetsov (1848-1926). The three noble warriors of Kievan Rus, whose names appear in the byliny, or Slavic narrative poems, include, in the center Ilya Muromets, a 12th-century warrior who defended Rus from invaders from the steppes and who was later sanctified; Dobrynya Nikitich (left); and the youngest of the three bogatyrs, and Alyosha Popovich (right). The colors in the miniature appear paler and more greenish than in the original painting, which is now in the State Tretyakov Gallery. That Reinhold Glière (1875-1956), who incorporated themes from Kievan Rus into his music, should have adapted the tale of these three bogatyrs for his Symphony No. 3 ("Ilya Muromets") in B minor, op. 42 (1911), attests to the popularity of this subject.
The counter enamel inside the lid is in turquoise en plein enamel over a guilloché ground engraved in zigzag patterns.
H: 2 5/8 x W: 6 1/8 x D: 3 7/8 in. (6.8 x 15.5 x 10.1 cm)
medium: silver gilding, painted glossy, filigree, and en plein enamel over a guilloché ground
by bequest to Walters Art Museum, 2010.
Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim's maiolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's maiolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank.
Italy, Gubbio, 16th century
tin-glazed earthenware with gold and red lustre (maiolica)
Diameter: 30.2 cm (11 7/8 in.)
Purchase from the J. H. Wade Fund