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One side of the bead bears a detailed carving of an owl, a hieroglyph that has the same sound value as the English "m." The other side shows a victorious pharaoh raising his weapon to dispatch a cowering enemy. The plaque was probably created in the 18th or 19th Dynasty.
Egyptian
H: 3/8 x W: 1/2 (0.99 x 1.33 x 0.04 cm)
Ring inner Diam: 9/16 in. (1.35 cm)
Outer Diam: 3/4 in. (1.84 cm)
medium: carved yellow jasper and gold
culture: Egyptian
dynasty: 18th-19th Dynasty
Walters Art Museum, 1931, by bequest.
China, Qing dynasty (1644–1911), Qianlong reign (1736–95)
porcelain with famille rose overglaze enamel decoration
Overall: 69.8 cm (27 1/2 in.)
Bequest of John L. Severance
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
England, 18th century
silk embroidery on wool, cross stitch
Overall: 45.7 x 33 cm (18 x 13 in.)
Educational Purchase Fund
Joseph Wood
1778–1830
2 7/8 x 2 5/16 in. (7.2 x 5.9 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 2006.235.278 2006
Dale T. Johnson Fund, 2006
During the contest between Zeus and the giants (the Gigantomachy), Zeus, shown in his chariot, tramples two giants in human form with serpent legs. The prototype for this intaglio is a gem now in the National Museum of Naples. Both are signed in Greek "Athenion," the name of an ancient gem engraver.
1 7/16 x 1 3/4 in. (3.6 x 4.5 cm)
medium: sardonyx
Walters Art Museum, 1942, by purchase.
France, 19th century
etching
Sheet: 18.2 x 11.9 cm (7 3/16 x 4 11/16 in.); Platemark: 13.6 x 8.9 cm (5 3/8 x 3 1/2 in.)
Gift of Ralph King, the Frederick Keppel Memorial
This plate decorated with an historical scene may serve as the point of departure for introducing the category of Italian maiolica (tin-glazed earthenware) known as "istoriato" (with a story) ware, that became popular around 1515. Depicting historical, biblical, and mythological subjects, the scenes were often based on engravings reproducing paintings by famous masters.The present composition is taken from an engraving by Caraglio of a work by the famous Italian painter, Francesco Mazzola, known as Parmigianino (1503–40), whose designs were admired for their variety, liveliness, and gracefulness.
Painters of istoriato treated the ceramic surface like a canvas to be covered with a narrative scene that often includes landscape and three-dimensional perspectival space. This was a departure from the traditional decoration of plates in which a central image was surrounded by a broad decorative rim.
Instead of seeing themselves merely as skilled craftsmen, some painters of istoriato aspired to be more learned, like their patrons, and became familiar with ancient history and myths known from such authors as Ovid and Virgil. They frequently signed and dated their plates on the back and sometimes added references (not always correct) to the sources of the depicted stories, probably for the benefit of their clients. Faenza was a leading center in the production of istoriato ware early in its development, while Urbino and the neighboring city of Castel Durante in the region known as the Marches led during the mid-16th century. Francesco Xanto Avelli was one of the leading masters of istoriato ware; his work is well represented in the Walters, for which see 48.1373.
Istoriato tableware was often made in large services on commission from private patrons, including for buyers outside Italy. See for example 48.1368, made for the Montmerency family. It was highly decorative but far more affordable than such luxury wares as Chinese porcelain then being imported. For more information on maiolica in general, see no. 48.1336
Italian Renaissance
H: 2 3/8 × Diam: 10 3/16 in. (6 × 25.9 cm)
medium: earthenware with tin glaze (maiolica)
culture: Italian Renaissance
Walters Art Museum, 1931, by bequest.
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.
Egypt, Middle Kingdom (2040–1648 BCE), Dynasty 12
gold over calcite gesso core
Average: 2.4 cm (15/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
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.
Spanish artist Pedro Berruguete spent a decade in Italy in the 1470s and 1480s, including a period in Rome during which he painted Pope Sixtus IV della Rovere from life. Here, the pope raises his hand in a gesture of benediction, blessing the viewer while meeting their gaze. Using white highlights to represent the glittering luminosity of the bejeweled garments, Berruguete accentuates Sixtus IV’s sumptuous attire, including the triregnum, or ceremonial triple crown and symbol of the papacy.
Spain
oil on wood, transferred to canvas
Framed: 95.5 x 76 x 5 cm (37 5/8 x 29 15/16 x 1 15/16 in.); Unframed: 70.2 x 51.4 cm (27 5/8 x 20 1/4 in.)
Did you know...
James Jackson Jarves (1818–1888)—famed art critic and one of the first Americans to amass a collection of medieval, Renaissance, Mannerist, and Baroque paintings from Italy—owned this painting in the late 19th century.
Holden Collection