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This statue of Maitreya has an ushnisha. The left arm and head are broken off and the head has been cemented back on. There is a Manushhi Buddha on the back of the halo.
Chinese
H: 15 1/2 in. (39.3 cm)
medium: stone with traces of color
culture: Chinese
dynasty: Tang [T'ang] Dynasty
Walters Art Museum, 1931, by bequest.
[url=http://airforceshooting.org/bouchee.html]SMSgt Dan Bouchee[/url] receiving his General Twining Award
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2014 MFG Cyclocross - Subaru Woodland Park GP - 11.09.2014
2014 MFG Cyclocross
Woodland Park GP
Seattle, WA
11.09.2014
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This piece was designed by Louis Comfort Tiffany and executed by Tiffany & Co., the firm established in New York in 1837 by Louis Comfort Tiffany's father, Charles. On Charles's death in 1902, LCT, as he was known, became artist director of the firm. When this piece was shown at the Panama-Pacific International Exposition held in San Francisco in 1915, it was described simply as a "Gold Cup," but the patterns used may have been inspired by Indian metal work, while the technique of transparent enamel was revived in late 19th-century France, and looked back to the art of the Medieval period. "The Jewelers' Circular" described this piece as follows: "cup of 18 karat gold covered with richly chased design of Indian ornament. This cup is elaborately pierced and filled with transparent enamels of rich blue and turquoise, the same tones being repeated on the foot." According to a Tiffany & Co. pattern book, this cup (18194) was completed on 13 July 1913 and the cost of labor and fabrication was $2,500. The pattern book also states that the cup was "enameled at the store," which would indicate that the body of the cup was made in the silver division of the firm in New Jersey and then enameled in New York, under the direction of Julia Munson Sherman, one of a group of so called "Tiffany Girls," who worked at the firm but who was not credited. Sherman left the firm the year after this cup was made when she married, as Tiffany, like many other employers at the time, would not employ women who were enaged to be married or married.
H: 8 11/16 x Diam: 9 13/16 in. (22 x 24.9 cm)
medium: gold, transparent enamel
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
This capital belongs to a surviving group including other architectural fragments that once decorated the cloister of the Abbey of Larreule. A cloister was a covered walkway or arcade, usually around all four sides of a square area of grass (the "cloister garth"). The seclusion of the cloister was the monks’ exclusive domain, off limits to others. Here, the monks were supposed to pray, study, meditate, and exercise in privacy and solitude. Such cloister capitals served both to instruct the monks and as a focus for their devotions. Other capitals in this series are installed in the Jardin Massey at Tarbes, near the original abbey. An arch from Larreule has been assembled with other associated French capitals at The Cloisters in New York.
Southern France, Abbey of Larreule, near Tarbes, 15th century
limestone
Overall: 39.4 x 39.4 x 54 cm (15 1/2 x 15 1/2 x 21 1/4 in.)
Gift of the John Huntington Art and Polytechnic Trust