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A monkey is depicted with his back to the viewer. He is wearing a coat and seems to be dancing beneath a plum tree in bloom. Tufts of bamboo are near his feet. This is part of a set with Walters 51.951.
Japanese
1 7/16 in. (3.7 cm) (l.)
medium: silver, gold
style: Hamano School
culture: Japanese
Walters Art Museum, 1931, by bequest.
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
Edmonia Lewis was the first African American sculptor to receive international recognition. Born in Greenbush, New York, to a Haitian father of African descent and a mother of Native American and African American descent, Lewis spent a brief time in Boston studying with the sculptor Edward Brackett. In 1866, she moved from Boston to Rome, Italy, to study sculpture and to escape racial discrimination. Lewis adopted the prevailing Neoclassical style of sculpture but softened it with a degree of naturalism. She had a successful career specializing in biblical subjects, themes recalling her Native American and African American ancestry, and portrait busts of important people.
This portrait bust of Diocletian Lewis (1823–86), was made in the artist's Rome studio. Dio Lewis (no relation) who trained in medicine at Harvard College's medical department and practiced briefly in Buffalo, New York, is remembered chiefly for lectures and publications dealing with preventive medicine and physical hygiene, as well as for his support of liberal causes, including women's rights.
H: 22 1/2 × W: 14 1/4 × D: 8 11/16 in. (57.15 × 36.2 × 22 cm)
medium: marble
Walters Art Museum, 2002, by purchase.
The cornucopias and scroll-shaped brackets capped by the bust of the youthful Roman god, Mercury, were inspired by the work of Inigo Jones, one of the first British architects of great renown. The mantel was originally installed in Wanstead House, formerly located on the outskirts of London. Working opposite the architect, Colen Campbell (1676–1729), William Kent completed the interior decoration of the estate and likely produced this mantel as well. When Wanstead House was pulled down in 1822, the Duke of Hamilton purchased the chimney piece and three others from Wanstead House to display in his own home near Glasgow, Scotland.
England, 18th century
marble
Overall: 153.7 x 204.4 cm (60 1/2 x 80 1/2 in.)
Did you know...
Here the presence of the Roman god of trade and abundance (Mercury) within the decorative scheme of this mantel alludes to prosperity and bounty.
Elisabeth Severance Prentiss Fund
Nathan Storrs
1768–1839
H. 99 1/2 in. (252.7 cm)
medium: Maple, holly, ebony, white pine, tulip poplar
Metropolitan Museum of Art, New York, NY 21.67 1921
Rogers Fund, 1921
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On this page from the March 30, 1901, issue of <em>L’Illustration</em> (Illustration), a French magazine, colorful depictions of cats surround a short text praising those animals and their place in history. The cats sit, sleep, and prowl around the columns of text, as if they are furnishings to climb and sleep on. Color illustrations were particularly difficult and expensive to reproduce before the advent of modern printing technology because each color had to be printed independently. As a result, artists like Théophile Alexandre Steinlen developed strategies to achieve the maximum effect by overlapping as <br>few colors as possible, such as the yellow, gray, and black that create a variety of fur patterns here.
Switzerland
Color lithograph illustration with letterpress
Overall: 39.5 x 58.2 cm (15 9/16 x 22 15/16 in.)
Bequest of Elizabeth Carroll Shearer
Video URL: youtu.be/gmAMyUwmgkE
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John Frederick Kensett
American, Cheshire, Connecticut 1816–1872 New York
11 3/8 x 24 1/2 in. (28.9 x 62.2 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 74.27 1874
Gift of Thomas Kensett, 1874
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Iran, early Islamic period
bone, incised
Overall: 0.5 x 2.1 x 2.1 cm (3/16 x 13/16 x 13/16 in.)
Gift of Edward Gans
In this panel, a pair of panthers, a common motif in Russian textiles, flank a stylized Tree of Life. Two different types of birds fly above the scene. One bird is small, while the other is larger and similar to a peacock. The diamond patterning and geometric motifs throughout this lace are characteristic of Russian “peasant laces.”
Russia, Nizhniy Novgorod, 18th-19th century
Needle lace, filet/lacis (knotted ground and darned in one and two directions); bleached linen (est.)
Overall: 57.4 x 90.2 cm (22 5/8 x 35 1/2 in.)
Did you know...
The Tree of Life, panther, and peacock are all ancient symbolic motifs introduced into lace patterns during the latter eighteenth century.
Gift of Mrs. Rollin J. Stickle