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the colours on this are bright which looks like they are a god character this also makes it look lIke he is a good character because he has someone next to him whilst he is recovering or lying there dead
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Title: Catalogue of artificial teeth, precious metals, stoppings, dental rubbers, furniture, instruments, nitrous oxide gas and ether apparatus, laboratory apparatus, tools and sundries manufactured, imported, and sold by Claudius Ash & Sons, Limited, 6, 7, 8, & 9, Broad Street, Golden Square, London, W [electronic resource]
Creator: Claudius Ash & Sons
Creator: University of Glasgow. Library
Creator: University of Glasgow. Library
Publisher: London : Claudius Ash & Sons
Sponsor: Jisc and Wellcome Library
Contributor: University of Glasgow Library
Date: 1893
Language: eng
Description: Cover title: Claudius Ash and Sons' Dental catalogue. 1893
Includes index
Spine title: Dental catalogue
This material has been provided by The University of Glasgow Library. The original may be consulted at The University of Glasgow 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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Jars of this type were once used as water pots on a writing desk by scholars. The rounded crisp mouth is a functional design which assists in removing excess water from a brush. Cobalt blue paintings on the white porcelain body depict a three clawed dragon consuming floating sacred fungi lingzhi, believed to ensure long life and used as a symbol for immortality. A mark for good luck inscribed on the foot of the pot reads "precious jade treasure".
Chinese
H: 2 3/16 × Diam: 2 5/8 in. (5.6 × 6.7 cm)
medium: semi-eggshell porcelain with underglaze blue decoration
culture: Chinese
dynasty: Qing Dynasty
reign: Kangxi; Yongzheng
by bequest to Walters Art Museum, 1931.
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This tsuba illustrates a story about the 8th-century Chinese painter Wu Daozi [Tao-tzu], who was said to have painted a picture of a dragon so realistic that it came to life. The tsuba shows the painter in the lower right surrounded by brushes and other tools. The dragon looms over the upper left of the tsuba. On the reverse is a pine tree and bamboo. Both secondary holes have been plugged and the background incising continues across the plugs.
Japanese
2 13/16 x 2 11/16 x 1/8 in. (7.15 x 6.88 x 0.38 cm)
medium: sentoku, gold, copper
style: Shimizu School
culture: Japanese
Walters Art Museum, 1931, by bequest.
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Sight: 2 7/8 x 2 3/8 in. (7.3 x 6 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 20.130.4 1920
Gift of Frances A. De Vinne, in memory of her sister, Emma A. De Vinne, 1920
A gemellion (from the Latin geminus, meaning "twin") is one of a pair of basins used for hand washing, either at home or during the Mass. Water was poured from the spouted bowl and was caught in the second bowl placed below. Many gemellions made in the enamel manufacturing center of Limoges, France, were decorated with secular-themed designs of birds, beasts, or courtly scenes. This example shows a knight kneeling before his lady in the central medallion and women holding coats-of-arms on the surround.
French
H: 1 3/8 x Diam: 8 7/8 in. (3.5 x 22.5 cm)
medium: champlevé enamel on copper with gilding
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.
Rocks have long been admired in China as an essential feature in gardens. By the 10th century, small ornamental rocks such as this example were also collected and displayed in the scholar’s study. Either naturally sculpted by erosion or artfully shaped by human hands, such rocks were seen as embodiments of the transformational processes of nature. Rocks were also admired for their resemblance to mountains or caves, particularly the magical peaks and paradise caves believed to be inhabited by immortal beings.
Overall with base: H: 30 11/16 x W: 11 7/8 x D: 6 7/8 in. (78 x 30.1 x 17.5 cm)
Rock: H: 27 13/16 x W: 11 7/8 x D: 6 7/16 in. (70.7 x 30.1 x 16.3 cm)
Base: H: 5 3/8 x W: 9 7/16 x D: 6 7/8 in. (13.6 x 23.9 x 17.5 cm)
medium: black lingbi limestone with white veining
Walters Art Museum, 1998, by gift.
Both continuity and change are reflected in this portrait bust initially carved for a ruler of the Middle Kingdom and then re-carved for a New Kingdom monarch. There was a marked change between the way late 12th Dynasty and mid 19th Dynasty kings were represented. The pharaohs of the 12th Dynasty wished to present an experienced and careworn expression. This is conveyed by heavy eyelids, wrinkles, and a firm set to the mouth. The pharaohs of the 19th Dynasty, however, wanted their images to suggest youth, vigor, and confidence. To transform a Middle Kingdom royal image into a New Kingdom one, sculptors re-carved the face. The eyes, nose, and forehead of this sculpture show evidence of reworking to erase signs of age, while the corners of the mouth were deeply drilled to make the cheeks appear rounder and to bring the lips closer to the slight smile typical of 19th Dynasty royal sculpture.
Egyptian
8 11/16 x 7 5/16 x 4 5/16 in. (22 x 18.5 x 11 cm)
medium: anorthosite gneiss
culture: Egyptian
dynasty: 12th Dynasty, 19th Dynasty
reign: Sesostris III-Amenemhat III, Ramesses II
Walters Art Museum, 1931, by bequest.
Wearing a pink garment, the prince sits in a characteristic position on a striped carpet against a bolster, while holding a little white flower in his left hand. Behind him stands an attendant with a flywhisk. The pungent yellow background was favored by early Pahari artists, and the idealization notwithstanding, the two figures are rendered in exquisite detail worthy of a master artist.
H: 7 3/8 x W: 5 3/16 in. (18.7 x 13.2 cm)
Framed H: 20 1/8 × W
15 3/16 × D: 1 1/4 in. (51.12 × 38.58 × 3.18 cm)
medium: opaque watercolor on paper
Walters Art Museum, 2001, by gift.