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Francis Seymour Haden worked professionally as a surgeon, experimenting avidly with etching in his spare time. He took up the medium while it was experiencing a major revival of interest in London, and he quickly developed an artistic reputation that outweighed his medical work. Most of Haden’s prints were landscapes. In this work, work, he worked experimentally, combining two separate prints (from a plate that had been cut in two) and drawing on the image in graphite to further reconsider the composition.
England, 19th century
etching with pencil
Gift of The Print Club of Cleveland
The four sections of this stand each terminate in a lion's head and the supporting legs end with a paw. The angular modeling of the lion's head contrasts with the delicate silver inlaid decoration.
Northern Iraq or Syria, Zengid or Ayyubid period
cast brass inlaid with silver
Overall: 14 cm (5 1/2 in.)
Dudley P. Allen Fund
The Paracas people buried their dead in bundles that they created by carefully wrapping the seated human body in layers of garments and other textiles. In some cases, they placed a painted <br>cloth—such as these examples—on the outer layer and at the top of the bundle. The hair-like <br>yarns (unwoven warps) were arranged around a solid cotton disk that was sometimes wrapped <br>with a headband. The cloths, then, seem to have functioned as the bundle’s head, even though <br>some are painted not with faces but with complete figures whose supernatural character is marked by the appendages streaming from their bodies.
Peru, South Coast, Ica Valley, Ocucaje site, Paracas style (700 BCE–1 CE)
Cotton and pigment; plain weave
Overall: 61 x 24.1 cm (24 x 9 1/2 in.)
Did you know...
These masks fall into two categories, those with only a face and those with a full-bodied figure.
The Norweb Collection
A work of art and a triumph of technology, the long-tailed sallet was the characteristic German war helmet of the later Middle Ages. This is a superb example. The flowing profile of the neck defense and mirror-like polish of the hammered, tempered steel could deflect the most formidable blows. The visor could be raised to provide better vision and easier breathing. It would have been used with a chin guard. It weighs 4 lbs. 12 oz.
This sallet is from the Princes of Liechtenstein collection at Vaduz.
German
10 1/16 x 8 7/8 x 15 9/16 in. (25.5 x 22.5 x 39.6 cm)
medium: steel, iron
culture: German
Walters Art Museum, 1931, by bequest.
This steatite scarab is the bezel of a finger ring. Its flat underside is incised with a vertically arranged design of a pair of facing, connected "Udjat" eyes with script signs below. The design of the back of the scarab is simple with short and aligned carved side-notches and a well proportioned layout. The workmanship of the piece is slightly rough and it is not very carefully made.
This scarab originally functioned as an amulet. It should protect the life and regeneration of its owner and provide divine support. The piece was originally mounted or threaded.
The very stylized shape of "Udjat"-eye-pair was common in the late Middle Kingdom and the Second Intermediate Period.
Egyptian
H: 3/8 x W: 11/16 x L: 15/16 in. (0.9 x 1.8 x 2.4 cm)
medium: light brown steatite with green-blue glaze and bronze setting
culture: Egyptian
dynasty: 15th Dynasty
Walters Art Museum, 1931, by bequest.
John Henry Twachtman
American, Cincinnati, Ohio 1853–1902 Gloucester, Massachusetts
14 x 17 5/8 in. (35.6 x 44.8 cm)
medium: Pastel on pumice paper, mounted on cardboard
Metropolitan Museum of Art, New York, NY 25.107.2 1925
Rogers Fund, 1925
In this tsuba, a farming woman stands outside her hut. With the two baskets in her hands, she is probably winnowing grains. Blossoms appear in the pine tree behind her. On the reverse are magnolia flowers. This may be a reference to a folk story.
Japanese
2 5/16 x 1 15/16 x 1/8 in. (5.8 x 5 x 0.37 cm)
medium: shakudo, copper, gold
style: Mito School
culture: Japanese
Walters Art Museum, 1931, by bequest.
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.
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
The inland road connecting Edo (present-day Tokyo) and Kyoto, the Kisokaidō had 69 post stations, similar to contemporary freeway rest areas. These prints of the mountainous Kisokaidō offered urban print collectors views of scenic spots without the inconveniences of travel.<br><br>Moonlight silhouettes travelers leaving the Nagakubo station, while a figure with a walking stick approaches it across the Wada Bridge. In the foreground, a man leading his weary horse gazes at the moon while children play with dogs.
Japan, Edo period (1615–1868)
color woodblock print
Sheet: 22.8 x 35.4 cm (9 x 13 15/16 in.)
Gift of Mrs. Henry S. Upson
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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