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Elaborate oil lamps with figural attachments were common at the royal court in the ancient kingdom of Meroë. This lamp depicts a captive nude prisoner, his hands bound to his ankles. The lamp would have been suspended by a chain from the collar around the figure's neck. A Meroitic symbol, perhaps an owner's mark, is incised on the prisoner's shoulders.
Nubian
W: 4 1/8 x D: 3 9/16 x L: 10 in. (10.4 x 9 x 25.4 cm)
medium: bronze
culture: Nubian
Walters Art Museum, 1931, by bequest.
This tsuba is a depiction of the sky filled with clouds. At the upper left, the moon appears with the depiction of a rabbit pounding rice for sweet rice cakes. This is the figure that the Japanese see in the moon. This tradition may have developed in part because the word for rice cake ("mochi") can also mean "full moon."
Japanese
H: 2 13/16 × W: 2 11/16 × D: 3/16 in. (7.2 × 6.9 × 0.5 cm)
medium: shibuichi (silver-copper alloy), silver, and gold
style: Kii School
culture: Japanese
Walters Art Museum, 1931, by bequest.
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The coffin of Bakenmut is one of the finest examples of painted wooden coffins made for the priests of Amen and their families at Thebes during Dynasty 21 and early Dynasty 22. The pharaohs of this time were no longer buried in the Valley of the Kings, but instead built tombs in the Delta, far to the north, where they resided. Security was lax in the Theban necropolis. The coffins and funerary goods of the wealthy citizens of Thebes were placed in unmarked and undecorated family tombs cut into the cliffs on the west bank of the Nile. All the care and detail that in more prosperous times were devoted to the decoration of the tomb chapel were now lavished on the elaborately painted coffins. Every available surface is crowded with religious scenes, images of funerary gods and goddesses, protective spells, and magical symbols. The deceased appears mummiform. An elaborate floral collar entirely covers the upper body, exposing only the separately attached hands (now lost). A pair of red "mummy braces" are crossed over the chest, their point of intersection marked by a winged sun disk. The lower body is covered with tiny figures modeled in gesso against a yellow background, which gives the effect of gold inlaid with glass or semiprecious stone. The decoration on the interior features two deified dead kings of Dynasty 18. Although these rulers had lived centuries before, memory of their greatness was still very much alive. The main scene near the top depicts Tuthmosis III, the great military pharaoh, who lived 500 years before Bakenmut. Posed as a mummy, the ruler wears a brilliant feathered garment enfolding him with falcon’s wings. The scene below features back-to-back seated images of Amenhotep I, regarded as the patron of the Theban cemetery and worshiped as a local god there.
Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22
gessoed and painted sycamore fig
Overall: 68 cm (26 3/4 in.)
Did you know...
Originally another smaller coffin was placed inside this outer coffin and in that the deceased with a mummy board would have rested.
Gift of the John Huntington Art and Polytechnic Trust
China, Qing dynasty (1644–1911)
Silk, gold thread: embroidery
Overall: 94 x 177.8 cm (37 x 70 in.)
Did you know...
This was likely made for a wife of a wealthy merchant, whose business would rely on ships like the embroidered ones on the coat.
Gift of Mr. and Mrs. J. H. Wade
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 6 × W: 7 7/8 in. (15.24 × 20 cm)
Framed H: 21 1/4 × W: 16 1/4 × D: 1 5/16 in. (53.98 × 41.28 × 3.33 cm)
medium: watercolor and gum heightening, iron gall ink and pen, over graphite underdrawing on slightly textured, moderately thick (?) cream wove paper
Walters Art Museum, 1931, by bequest.
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This tunic fragment with a straight neck opening in the center and one surviving shoulder square may have symbolically protected the wearer from danger. This is suggested by interlacing knots. These delicate decorations in small deep purple discs alternate with human busts in roundels.
Egypt, Byzantine period
plain weave with slit-tapestry weave and supplementary weft wrapping; dyed wool, undyed linen
Overall: 14.3 x 35.6 cm (5 5/8 x 14 in.); Mounted: 22.9 x 43.2 cm (9 x 17 in.)
Gift of George D. Pratt
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This painting replicates Delaroche's most famous work, a mural in oils and wax (1836-41) in the auditorium of the École des Beaux-Arts in Paris, France's most prestigious art school. Delaroche's pupil, Charles Béranger, is thought to have begun this replica in 1841, but the master completed it following his pupil's death in 1853. It provided a basis for L.-P. Henriquel-Dupont's engraving reproducing the composition.
Represented are great artists of the past who appear to preside over the awards ceremonies held in the auditorium. Enthroned in the center are the three masters of antiquity-Ictinus the architect, Apelles the painter, and Phidias the sculptor-flanked by personifications of Greek and Gothic art (on the left) and Roman and Renaissance art (on the right). Below, the semi-nude figure of Fame leans forward to distribute laurel wreaths to the recipients of the coveted Grand Prix de Rome, who were entitled to spend 4 to 5 years studying in Rome at the expense of the State.
Those European artists from the 13th through the 17th centuries whom Delaroche ranked as the most important are included in his great assembly. To the left are 14 sculptors and a gathering of painters known as colorists and naturalists and, to the right, 13 architects, 2 engravers, and 19 painters distinguished for their drawing. Although many of their names are familiar today, among them Titian, Rembrandt, and Rubens on the left, and Raphael, Michelangelo, and Poussin on the right, others are less so. Notably absent are Botticelli, El Greco, and Vermeer, whose paintings were not rediscovered until later in the century.
According to the accounts of the dealer Adolphe Goupil the exceptionally elaborate frame cost 5,000 French francs, or $1,000, a remarkable sum in 1853.
H: 16 3/8 x W: 101 5/16 in. (41.6 x 257.3 cm)
Framed H: 41 3/4 x W: 124 1/8 x D: 6 1/8 in. (106.05 x 315.28 x 15.56 cm)
medium: oil on canvas
by bequest to Walters Art Museum, 1931.
[1] The Diary of George A. Lucas, p. 348.
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This earring was made to hang on sculptures of deities worshipped in Nepalese temples. Nepalese craftsmen excelled at the detailed encrustation of jewels to depict complex figural imagery. They shaped gold wires into a framework, then inserted polished stones into the spaces, held in place with an adhesive. Four-armed Vishnu is made of sapphires; his mount the man-eagle appears to be made of carnelian and spinel with wings of turquoise.
Nepal, Kathmandu Valley
Gold set with precious and semiprecious stones
Overall: 2.5 cm (1 in.)
Did you know...
Jeptha Homer Wade II and his wife bought this and other jewelry and textiles on a trip to India.
Gift of Mr. and Mrs. J. H. Wade
In the 1800s, native peoples began to use European fabrics to fashion fine formal garments; they favored sturdy cloth, such as velvet and wool broadcloth, which provided support for heavy decorative beadwork that was added by hand. Often the fabric was a dark color, providing dramatic contrast for the multicolored beads. Rather than encrusting the entire garment, beadwork was confined to cuffs, “epaulettes,” bib-like plackets and yokes, rectangular panels sewn to leggings, shirts, and dresses, and the like.
Northeast Woodlands, Great Lakes Region, Anishinaabe (Ojibwe) or Nehiyawak (Cree) People?
Velvet, satin, glass beads
Overall: 12.1 x 29.8 cm (4 3/4 x 11 3/4 in.)
Anonymous gift in memory of Sarah Ann Morrison
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