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The Roman practice of mounting gold coins as jewelry continued in the Early Byzantine period with this section from a necklace. The other half would have been a mirror image, with gold and lapis lazuli "double-cone" beads and two more coins of Emperor Maurice Tiberios (ruled 582-602). The cross pendant, seen here with a glass bead, may once have contained a precious stone.
Byzantine
H: 7 7/8 x W: 1 1/16 x D: 3/8 in. (20 x 2.6 x 1 cm)
medium: gold, lapis lazuli, and glass
culture: Byzantine
reign: Maurice (AD 582-602)
Walters Art Museum, 1931, by bequest.
James Peale
American, Chestertown, Maryland 1749–1831 Philadelphia, Pennsylvania
1 7/8 x 1 1/2 in. (4.8 x 3.7 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 68.222.8 1968
Gift of J. William Middendorf II, 1968
Khnum holds a whip in his right hand. The inscription says that this votive figure was dedicated by King Psametik.
As in large scale Egyptian granite standing or striding figures, there is no space between the legs, and the arms are kept close to the body. The headdress has broken off.
Egyptian
6 3/4 in. (17.2 cm)
medium: black granite
culture: Egyptian
dynasty: 26th Dynasty
Walters Art Museum, 1931, by bequest.
Fabergé’s craftsmen in Moscow, especially under the watchful eye of workmaster Feodor Rückert, became known for their work in the pan-Slavic or neo-Russian style, hearkening back to 17th-century motifs of Russian folk art. Often on rather conventional shapes, Rückert and his silversmiths created an explosion of color, achieved through the historic technique of cloisonné enamel in which tiny metal lines are soldered to the surface then filled with glass powders in various colors and fired to create a high gloss finish. The result is a spectacular evocation of the 17th-century originals. Far from mere copies, however, Rückert's designs, such as this tea service, employ naturalistic or abstract motifs in a thoroughly modern adaptation of a remarkable earlier period of Russian art and decoration.
Russia, St. Petersburg
silver gilt, opaque cloisonné enamel
Overall: 16.2 x 11.2 cm (6 3/8 x 4 7/16 in.)
Did you know...
This tea caddy is part of a larger tea service.
The India Early Minshall Collection
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This relief was excavated in northern Syria at the site of Tell Halaf, the capital of a small independent city-state known as Guzana to the Assyrians, who conquered it in the late 9th century BCE. More than two hundred such stone reliefs (so-called orthostates) decorated the façade of a temple-palace built in the 10th century BCE by a local ruler named Kapara, son of Khadiânu. He reused the blocks from one or more pre-existing structures and carved an inscription in cuneiform on each one that states, "Palace of Kapara, son of Khadiânu." The blocks were placed so that limestone ones painted red alternated with others of black basalt. While the human images have been depicted in the less sophisticated, local style, many of the animal reliefs may have been modeled on finely carved ivories imported from northern Syria and Phoenicia that were found at the site.
This relief decorated the lower course of the exterior wall of the temple palace of King Kapara. Two heroes pin down a bearded foe, while grabbing at his pronged headdress. The context may be related to the Gilgamesh epic, and display Gilgamesh and Enkidu in their fight with Humbaba.
Aramean
H: 24 5/8 × W: 16 9/16 × D: 6 5/16 in. (62.6 × 42 × 16 cm)
medium: basalt
culture: Aramean
Walters Art Museum, 1944, by purchase.
Nakamura Sojuro (1835-89), dressed as a nobleman, removes his arms from the sleeves of his outer robe to prepare for a sword fight. The play is unidentified.
Japanese
9 13/16 x 7 1/16 in. (25 x 18 cm)
medium: mulberry paper, color, ink
style: Osaka School
culture: Japanese
Walters Art Museum, 1986, by gift.
Egypt, Middle Kingdom (2040–1648 BCE), Dynasty 12
flint
Overall: 5 cm (1 15/16 in.)
Gift of the British School of Archaeology in Egypt
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