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86 1/2 x 40 x 21 1/2 in. (219.7 x 101.6 x 54.6 cm)
medium: Japanned maple, japanned white pine, white pine, japanned birch; brass
Metropolitan Museum of Art, New York, NY 40.37.1 1940
Purchase, Joseph Pulitzer Bequest, 1940
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51 x 61 in. (129.54 x 154.94 cm)
medium: Silk / Cut velvet
Metropolitan Museum of Art, New York, NY 52.126.21 1952
Gift of the Estate of Mrs. Edward Robinson, 1952
Go to Page with image in the Internet Archive
Title: The rheumatic diseases (so called) with original suggestions for more clearly defining them
Creator: Lane, Hugh
Creator: Freeman, Henry William, 1842-1897, Provenance
Creator: Griffiths, Charles T
Creator: Bath Medical Library, Provenance
Creator: University of Bristol. Library
Publisher: London : Churchill
Sponsor: Jisc and Wellcome Library
Contributor: University of Bristol
Date: 1890
Language: eng
Description: This material has been provided by University of Bristol Library. The original may be consulted at University of Bristol Library
University of Bristol Library
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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This box is a "pandan," a container for "betel"- thin slices of the nut of the areca palm mixed with spices and lime paste made from ground seashells and wrapped in a leaf of the betel tree. Betel, chewed after meals to help with digestion, was very popular in the Punjab region. This box is inscribed with the name of its owner, Abu'l-Kharid Nur al-Hasan Khan.
H: 3 3/4 × W: 6 × L: 6 7/8 in. (9.5 × 15.3 × 17.5 cm)
medium: brass
Walters Art Museum, Baltimore, 1988, by purchase.
These screens recall a painting style so closely identified with Ogata Kōrin (1658–1716) that it is called Rinpa, or “Rin School,” after the ideograph “rin” in his name. The highly stylized background accentuates floral groupings that have been groomed so as to appear utterly artificial, like the synthetic arrangements available today. Kōrin's genius derived in large measure from natural phenomena painstakingly observed and then manipulated to create compositions of startling refinement and sparkling isolation. This process may have grown out of Kōrin's early immersion in the family textile business, a medium that encourages such dramatic distillations of form: the stream's gold-crested waves bring to mind traditional kimono robe designs of Kōrin's era. Works with the signature seen on this painting, including a style name, or persona suggested to Kōrin by his brother Kenzan (1663–1743), are sometimes considered to have been produced either in the last year of his life, when he was very ill, or after his death. In both scenarios, the lion’s share of the work would have been done by studio assistants, but little is truly known of his studio practice. Given the regularity of the gold waves on the stream, and the tension in the arrangement of the chrysanthemums, it is also possible that the screens were made in emulation of Kōrin's designs by a later artist.
Japan, Edo period (1615–1868)
One of a pair of six-panel folding screens; ink and color on gilded paper
Image: 163.2 x 369.9 cm (64 1/4 x 145 5/8 in.)
Did you know...
The signature used on these screens may indicate paintings made in the last year of the artist's life, or works completed by his studio after his death.
Gift of the Hanna Fund
Charles Cromwell Ingham
American (born Ireland), Dublin 1786–1863 New York
3 1/4 x 2 1/2 in. (8.3 x 6.5 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 2006.235.92 2006
Dale T. Johnson Fund, 2006
This statuette, likely dedicated to the falcon-god Horus, is missing its crown and eye inlays. The structure of the feathers is carefully incised. The base is inscribed with texts of adoration and prayer. Examination through the hole in the head revealed bird bones that had been wrapped in linen and placed inside through a trap door between the statuette's legs. A neutron-induced radiograph also reveals the presence of bones inside the reliquary.
Egyptian
H: 8 15/16 in. (22.7 cm)
medium: bronze, bird bones, linen
culture: Egyptian
dynasty: 26th-30th Dynasty
Walters Art Museum, 1931, by bequest.
This tsuba depicts a lotus pond with lotus flowers blossoming. The plants are depicted in gold and silver relief. On the back of the tsuba, a water bug skims the water between the lotus. The lotus is associated with Buddha and a state of purity. The construction of this tsuba is unusual. The front is made of a copper and gold alloy called shakudo, while the back is silver. They have been fused together, creating a wavy pattern along the tsuba's edge.
Japanese
at center: 2 11/16 x 2 7/16 x 1/8 in. (6.9 x 6.13 x 0.34 cm)
medium: silver, shakudo, gold, copper
style: Goto School
culture: Japanese
Walters Art Museum, 1931, by bequest.
Iran, possibly Tabriz or Shiraz, Timurid Period, early 15th century
ink and opaque watercolor on paper
Overall: 23.2 x 15.5 cm (9 1/8 x 6 1/8 in.); Text area: 18.2 x 12 cm (7 3/16 x 4 3/4 in.)
Purchase from the J. H. Wade Fund