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Shahr-Arai and her husband sit together on the right, offering food to Shah-Arai’s lover. She has successfully tricked her gullible husband, and he gladly welcomes the young man into their household. From this point on, the three live happily together—the husband never uncovering the truth of Shah-Arai’s deception.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 9.1 x 10.2 cm (3 9/16 x 4 in.)
Did you know...
A lack of facial hair signals the lover’s youth.
Gift of Mrs. A. Dean Perry
[url=http://store.gingerscraps.net/Be-The-Magic-Bundle.html] Be The Magic - Bundle from Designs by Connie Prince [/url]
Double-headed birds alternating with flowering vases appear on this filet/lacis lace. The pattern repeats horizontally, with organic spirals which burst into the upper and lower registers.
Italy, Sardinia
Needle lace, filet/lacis (knotted ground and darned in one direction); bleached linen (est.)
Overall: 23.8 x 244.2 cm (9 3/8 x 96 1/8 in.)
Did you know...
This lace was given to the museum by Louise Tifft Brown, a native Clevelander who became an expert in lace while living in Venice for 35 years.
Bequest of Louise Tifft Brown
H. 3 1/2 in. (8.9 cm); Diam. 5 in. (12.7 cm)
medium: Porcelain
Metropolitan Museum of Art, New York, NY 14.40.368 1914
Bequest of Benjamin Altman, 1913
Venetian law obliged senators to wear colored textiles, in contrast to other male citizens, who wore black. The Procurator, a very high level government official, was required to wear a red stole, a cloth worn over one shoulder. So that it would read the same from front and back, the pattern reverses halfway, done by the weaver’s assistant on a drawloom. The line down the center is part of the original manufacture, enabling two stoles to be cut apart for use. The survival of an entire, uncut loom width is extremely rare. The velvet has two different heights of cut pile. The longer pile, which appears lighter, forms the pattern.
Italy, Venice, late 16th century
dyed silk; velvet in two heights of cut pile (pile on pile, alto e basso), woven as two stole widths
Overall: 142.2 x 71.1 cm (56 x 28 in.); Mounted: 147.3 x 77.5 cm (58 x 30 1/2 in.)
Bequest of John L. Severance
Germany, 19th century
steel with black paint
Overall: 27.3 x 33 cm (10 3/4 x 13 in.)
Gift of Mr. and Mrs. John L. Severance
In August 1868 Winslow Homer, then working as a free-lance illustrator, visited the White Mountains of New Hampshire. As early as the 1820s, American artists used the White Mountains as a setting for landscape paintings. Unlike Thomas Cole (1802-1848) and Asher Durand (1796-1886), who focused on the unspoiled wilderness, Homer turned his attention to other tourists. He made this oil sketch as a study for the horse in a large oil painting The Bridal Path, White Mountains (1868; Sterling and Francine Clark Art Institute, Williamstown, Massachusetts).
America, 19th century
oil on panel
Framed: 32.5 x 45 x 4.5 cm (12 13/16 x 17 11/16 x 1 3/4 in.); Unframed: 20 x 32.6 cm (7 7/8 x 12 13/16 in.)
Bequest of Leonard C. Hanna, Jr.
28 1/2 x 34 1/2 x 16 in. (72.4 x 87.6 x 40.6 cm)
medium: Mahogany, satinwood, sycamore, holly with oak, yellow poplar
Metropolitan Museum of Art, New York, NY 32.55.4 1932
The Sylmaris Collection, Gift of George Coe Graves, 1932
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