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This steatite scarab has a flat underside with an inscription on the bottom carved in sunk relief technique. The piece was originally glazed. The top of the scarab is decorated with deep and thick incised details. The workmanship of this piece is good.
This piece originally functioned as an individualized amulet and was once mounted or threaded. The amulet should secure the royal authority for this king, Thutmosis IV (1397-1388 BC), by his close relation to the god Amun; it should provide a private owner with this king's royal patronage.
The royal epithet "Image of Amun" is very popular on scarabs of the New Kingdom.
Egyptian
H: 1/4 x W: 7/16 x L: 9/16 in. (0.7 x 1.1 x 1.5 cm)
medium: light beige-brown steatite
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV (1397-1388 BC)
Walters Art Museum, 1931, by bequest.
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The flower-and-bird painting in this vase was intricately executed in colored enamels (<em>falangcai</em>), with careful modeling, shading, and blending of colors reflecting European influences through missionary-artists at the Qing court. The Jesuit artist Giuseppe Castiglione (1688–1766), in particular, exerted tremendous impact at the Qianlong academy.
China, Jiangxi province, Jingdezhen kilns, Qing dynasty (1644-1911), Qianlong mark and period (1736-95)
porcelain painted in polychrome enamels over transparent glaze
Overall: 18.6 x 10.5 cm (7 5/16 x 4 1/8 in.)
Did you know...
Refined porcelains produced in Jingdezhen kilns were sent to Beijing palace workshops to be decorated in <em>falangcai</em> technique under direct imperial supervision.
John L. Severance Fund
Until recently, and especially during the 1800s and early 1900s, the paintings in South Asian manuscripts were excised and mounted as individual works of art. These two paintings from a Jain manuscript of the <em>Kalpa-sutra</em> have been separated from the text and mounted with gold-flecked borders, like pictures in an album.
Western India, Gujarat
Gum tempera and gold on paper; 18th century gold flecked paper border
Painting: 9.5 x 6.8 cm (3 3/4 x 2 11/16 in.); Overall: 22.3 x 17.7 cm (8 3/4 x 6 15/16 in.)
Did you know...
The four-armed king of the gods, Indra, got off his throne to kneel in praise of the conception of the 24th Jina Mahavira.
Gift of J. H. Wade
The seated figure of the Virgin arches gently backward to conform to the curve of the ivory tusk. The Christ Child stands in her lap, with one foot on the throne, and reaches for the stem of lilies (?) that were held in the Virgin's right hand. The group is carved in the round. The throne is decorated with thin colonnettes supporting pointed arches, and there is a band of rosettes on the molding of the seat.
Traces of blue pigment remain on the skirt, painted over a reddish stain, and the silhouettes of gilt embroidery patterns occur on the borders. The Virgin's crown and right arm are missing. The Child's head, his left hand, and part of his right hand are missing. A wedge of ivory at the base, which established the proper position of the group, is missing, and there are two major chips along the base. The right half of the Virgin's face was restored in the 19th century.
French
H: 10 13/16 in. (27.5 cm)
medium: ivory with traces of paint and gilding
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.
An almost circular dark brown "sabiji" lacquer two compartment inro of an elephant on one side and two "karashishi" on the reverse. The design in bold relief with the elephant and one "karashishi" in silver. The other "karashishi" in black lacquer spotted with gold foil. All on a ground of "sabiji." The interior of "nashiji" and "fundame" or "kinji." The cord channels are external lobed metal (copper alloy?). Together with a carved ivory netsuke in the shape of a badger wrapped in a lotus leaf. Inscribed in a cartouche on the lotus leaf on the back of the badger.
Japanese
inro: 2 5/8 x 2 7/8 x 1 1/8 in. (6.6 x 7.3 x 2.8 cm)
medium: lacquer, silver, gold foil, ivory, copper alloy (?)
culture: Japanese
Walters Art Museum, 1931, by bequest.
James Sharples
ca. 1751–1811
9 1/2 x 7 7/16 in. (24.1 x 18.9 cm)
medium: Pastel on gray (now oxidized) laid paper
Metropolitan Museum of Art, New York, NY 1995.379.1 recto 1995
Bequest of Marguerite H. Rohlfs, 1995
Portraits of the writer Voltaire were very popular in the 18th century. Thomire was Houdon's pupil, and based his portrait sculptures of Voltaire on sketches made by his teacher. This small version may have been a model for version in bronze.
This modeled terracotta bust is on an alabaster base.
Bust only H: 5 7/8 × W: 4 7/8 × D: 3 15/16 in. (15 × 12.4 × 10 cm)
H with both bases: 8 11/16 in. (22.1 cm)
H with terra cotta base only: 7 5/16 in. (18.5 cm)
medium: terracotta, alabaster
Walters Art Museum, 1931, by bequest.
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The body of a snake curves around the edge of this tsuba on the right. The snake is depicted wrapping its body around a rotting tree trunk. The head and tail can be seen on the front, while the middle section of the snake is on the back. The hole for the utility knife is designed to look like a section of the tree has rotten away.
Japanese
3 3/16 x 2 7/8 x 3/16 in. (8.08 x 7.38 x 0.42 cm)
medium: copper, silver, gold, shibuichi (?)
style: Hamano School
culture: Japanese
Walters Art Museum, 1931, by bequest.
This lidded square jar was likely paired with a complementary yet nonidentical mate. The pine tree, plum, and bamboo together form the frequently depicted motif known as the Three Friends of Winter (<em>shōchikubai</em>), so named because of their hardy perseverance in the cold. Each side also features a pair of birds, including cranes on one face and pheasants on another.
Japan, Edo period (1615–1868)
Porcelain with overglaze color enamels and gold (Hizen ware, Kakiemon type)
Overall: 27.8 x 11.6 cm (10 15/16 x 4 9/16 in.)
Did you know...
A jar like this was fired at a high temperature, painted with colored enamels, and then fired again at a lower temperature.
Severance and Greta Millikin Collection