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Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
"The scene of the sketch is on the Platte," wrote Miller, "at night the Buffalo come to the River banks in legions, to quench thirst and refresh themselves by swimming." Miller, like all other artists to visit the West, was amazed at the buffaloes and recorded many details of their activities: "Two things are essential to the well-being and comfort of this animal- he must have his water bath, which he usually takes at night, and his earth bath, with which he solaces himself during the day." 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 11/16 x W: 13 9/16 in. (22 x 34.5 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
This fragment's overall lozenge grid has alternate rows of two opposed pairs of confronted camels on a densely foliated ground flanking a central ornamented diamond that encloses four-directional palmettes in deep golden tan on a dark blue-green ground, and symmetrical pairs of opposed floral vines in dark blue-green on a deep golden tan ground.
Iran or Iraq
Silk: compound twill weave
Overall: 29.2 x 35.5 cm (11 1/2 x 14 in.)
Purchase from the J. H. Wade Fund
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Just like the last one, the illustration blows me away. I have a strong desire to be a better creator of characters.
This dagger is decorated with an incised human face and a geometric pattern.
Melanesia, Papua New Guinea, Sepik River region, 19th century
cassowary bone
Overall: 33.6 x 4.6 cm (13 1/4 x 1 13/16 in.)
Gift of Mrs. Charles E. Roseman
Andrew Fisher Bunner
1841–1897
9 11/16 x 13 1/8 in. (24.6 x 33.3 cm)
medium: Black ink on light buff wove paper
Metropolitan Museum of Art, New York, NY 99.38.55 1899
Gift of Mrs. Andrew Fisher Bunner, 1899
This kozuka was made in Nagasaki, the main port during Japan's period of restricted foreign interchange between the 1630s and the 1850s. Most of Japan's foreign trade during that time occurred through Nagasaki. The large boat in the center is a Dutch ship. The flag at its left is either the Dutch tricolor or the flag of the Dutch East Indies Company, which used the tricolor as a background. The two boats on the right are Chinese junks. Five other small boats are in the water between the large ships. These boats are tied to together and are pulling the large boat into port. Part of the port can be seen behind the small boats.
Japanese
3 7/8 in. (9.8 cm)
medium: shibuichi, gold, silver, copper
style: Ishiguro School
culture: Japanese
Walters Art Museum, 1931, by bequest.
Objects of curiosity, coconuts from Africa or the East Indies were often turned into cups with silver mounts. The inscription in Dutch, "Drunkenness is the root of all evil," accompanies Old Testament scenes of Susanna threatened by the Elders, Delilah cutting Samson's hair, and Lot with his daughters, all involving succumbing to temptation. Other inscriptions announce that Cornelis de Bye carved the coconut and that his daughter Nelltgen had it mounted to commemorate his death, adding a further rhyme celebrating the bee's (Bye's) creation of pure honey through the love of God.
6 3/4 in. (17.1 cm)
medium: coconut, silver mounts
Walters Art Museum, 1931, by bequest.
This rare bronze triad from the 1400s shows Amitabha (아미타불 in Korean), or the Buddha of the Western Paradise, seated on a lotus pedestal at the center. He is flanked by two sacred attendants, Ksitigarbha (지장보살 in Korean) on his left and Avalokitesvara (관음보살 in Korean) on his right. The combination of these three Buddhist deities was particularly popular in the early Joseon period. The small scale suggests that this triad might have been displayed in a personal shrine rather than a large worship hall.
Korea, Joseon dynasty (1392–1910)
bronze with traces of gilding
Overall: 40.6 x 16.5 x 54.6 cm (16 x 6 1/2 x 21 1/2 in.)
Did you know...
This bronze statue that shows three powerful Buddhist deities was acquired in Korea in 1916 by Langdon Warner (1881–1955), the famous art historian at that time.
Worcester R. Warner Collection