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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.
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Winslow Homer
American, Boston, Massachusetts 1836–1910 Prouts Neck, Maine
14 7/8 x 21 3/8 in. (37.8 x 54.3 cm)
Framed: 24 1/2 x 30 1/2 in. (62.2 x 77.5 cm)
medium: Watercolor and graphite on off-white wove paper
Metropolitan Museum of Art, New York, NY 10.228.4 1910
Amelia B. Lazarus Fund, 1910
France, 19th century
bronze
Overall: 14 x 11.4 x 11.7 cm (5 1/2 x 4 1/2 x 4 5/8 in.)
Bequest of Edgar A. Hahn
The elaborate design, superior craftsmanship, and inscription carved into the red cinnabar lacquer proclaim the imperial pedigree of this scroll box. On either end appears a five-clawed dragon, a design reserved only for an emperor. More dragons twist and wind through swirling clouds and waves along the length of the box’s sides and top. The carving is intricate and vigorous, while the design is controlled and regular. This box originally housed the handscroll, <a href="https://www.clevelandart.org/art/1969.31">CMA 1969.31</a>, private portraits of the Emperor Qianlong, his empress, and 11 other favorites among his presumed 40 or more wives during his 60-year reign.
China, Qing dynasty (1644–1911), Qianlong reign (1736–95)
cinnabar carved lacquer on wood
Overall: 14 x 14.7 x 59 cm (5 1/2 x 5 13/16 x 23 1/4 in.)
Did you know...
This is the original box for the handscroll <em>Portraits of the Qianlong Emperor and His Twelve Consorts</em>, <a href="https://www.clevelandart.org/art/1969.31">CMA 1969.31</a>.
John L. Severance Fund
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
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
Is this painting by Titian?<br><br>Titian, the celebrated and prolific 16th-century Venetian artist, and his large workshop painted several versions of this subject. Further research is needed to compare this painting with versions in Milan and Madrid to determine how much of each is by Titian himself, as opposed to being the work of his studio assistants. The Prado Museum in Madrid is often considered to have a copy made from Cleveland’s painting, which is superior in execution but not condition. Despite the damage caused by overcleaning, there are many fine passages, including the bowing white horse, his groom in shadow, and the cradled Christ child.
Italy, 16th century
oil on canvas
Framed: 168 x 250 x 14 cm (66 1/8 x 98 7/16 x 5 1/2 in.); Unframed: 134.5 x 217 cm (52 15/16 x 85 7/16 in.)
Did you know...
This painting is filled with naturalistic details such as the riders who struggle to keep their horses and mules still and a small dog who urinates on a beam.
Mr. and Mrs. William H. Marlatt Fund
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