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A large aquamarine, with its table engraved to show a bell and a compass, is set in a gold ring. The shoulders are in the form of mermaids holding anchors whose tails intertwine to complete the shank. Large fish accompany the mermaids. The ring was shown at the World's Columbian Exposition in Chicago in 1893 and then bought by Henry Walters, an enthusiastic yachtsman.
W: 9/16 in. (1.5 cm)
medium: gold, aquamarine
Walters Art Museum, 1931, by bequest.
From an early age, Gaetano Gandolfi was admired for his drawings, many of which were created as independent works of art and avidly collected by Italian and British patrons. This drawing is one of Gandolfi’s so-called teste pittoriche, or pictorial heads. Devised by the artist in the 1770s, this genre is based on contemporary academic theories that proposed that human emotions could be scientifically classified by facial expressions.
Italy, 18th century
pen and brown ink and brush and brown wash over black chalk
Sheet: 29.5 x 20.2 cm (11 5/8 x 7 15/16 in.)
Did you know...
The term "grotesque" derives from the Italian word "grotteschi," which refers to the grottoes found in ancient Roman houses that were rediscovered around 1500.
Gift of Frederick M. Mayer
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This work, perhaps the right wing of a diptych (two-panel painting), is one of only two known 14th-century paintings to combine painted panels with plaques of verre églomisé (gilded reverse painted glass). The Crucifixion at center and the Virgin at the top are verre églomisé by an unknown artist, while the images of numerous saints around them are panel paintings by Tommaso da Modena. The Crucifixion and the Virgin were scratched into gold leaf applied to the back of glass. The areas where the gold leaf had been removed were painted to clarify the scenes. This object doubles as a reliquary; the labels in red around the Crucifixion identify the relics enshrined within. These are the wood of the True Cross and a stone from the Holy Sepulcher (top), the bones of the 11,000 Virgins and one of the Magi (right), the bones of St. James the Apostle (bottom), the Apostle Andrew, the Evangelist Luke, and St. Peter and St. Paul (left).
Medieval European
H: 17 15/16 x W: 8 1/4 x D: 7/8 in. (45.56 x 20.96 x 2.22 cm)
medium: tempera and gold leaf on panel with marble, ceramic, and verre églomisé insets on a gilded wood frame
style: Gothic
culture: Medieval European
Walters Art Museum, 1931, by bequest.
This oval intaglio depicts an ouroboros (a snake eating its own tail) enclosing two lines of text above and below three magical characters (in this case, ring-signs). The reverse is plain.
Gnostic
H: 7/8 x W: 1 1/4 x D: 3/16 in. (2.2 x 3.1 x 0.4 cm)
medium: brown mottled carnelian
culture: Gnostic
Walters Art Museum, 1942, by purchase.