Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.

"Before they are 16 years of age, these girls may be said to have their hey-day, and even if they become the wives or mates of Trappers, are comparatively happy, for they generally indulge them to their hearts' content; should they become however the squaws of Indians, their lives are subjected to the caprices of a tyrant too often, whose ill treatment is the rule and kindness their exception. Nothing so strikingly distinguishes civilized from savage life as the treatment of women. It is in every particular in favor of the former. The scene in the sketch is a sunset view on the prairie,- a Shoshonee girl reclined on a Buffalo robe near a stream, and some lodges and Indians in the distance." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).

In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.

7 1/2 x 11 7/8 in. (19.1 x 30.1 cm)

medium: watercolor on paper

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/11948

The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.

This scarab has a bottom design that displays King Amenhotep seated on his throne. He is dressed in a long pleated kilt, wears the so-called "Blue crown" with Uraeus-serpent and crown sash. The king holds with his left hand the crook in front of his chest, and with his right an ankh-sign (meaning "life"). The block throne has a small back. In front of him is a column with a left reading inscription, containing his throne name and title, and behind him the hieroglyphs for "protection" and "life." The layout is well organized, but it is notable that the royal figure does not fill the whole space, and that the Uraeus on the forehead of the king is unusually large. The highest point of the scarab's back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) have deeply incised, fine borderlines, single separation lines, V-shaped marks for the humeral callosities (shoulder thickenings), and small side-depressions. The partition lines between pronotum and elytron meet V-shaped. The rectangular head is flanked by triangular eyes. The trapezoidal side plates have curved outer edges and borderlines, and the clypeus (front plate) has four frontal serrations and two central base notches. The raised, slender extremities have natural form; the background between the legs is deeply hollowed out. The low oval base is symmetrical.

The scarab is longitudinally pierced, was originally mounted or threaded, and functioned as an amulet. It secures the existence ("life"), protection, divinity (title: "Perfect god"), and royal authority (cartouche, seated king with scepter) for the king, and provides a private owner with his patronage and protection.

Egyptian

H: 3/4 x W: 1 5/16 x L: 1 7/8 in. (1.9 x 3.3 x 4.7 cm)

medium: steatite with green glaze and residue of white underglaze

culture: Egyptian

dynasty: 18th Dynasty

reign: Thutmosis IV-Amenophis III (1397-1350 BC)

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/3211

In this intimate holy gathering, the Madonna supports the Christ Child's little foot and meets our gaze with a melancholic expression, as if aware that her son will one day sacrifice himself for humankind. The Christ Child fixatedly looks into the viewer's space with his right hand raised in a gesture of blessing. He is adored by his young cousin, John the Baptist, from the lower left. Also at the left is the Madonna's husband and Christ's earthly father, Saint Joseph. To the right is one of Christ's later followers, Saint Mary Magdalen, holding a gold and silver vessel containing the ointment she is said to have used to anoint Christ’s body after the Crucifixion. The figures are set against a green curtain which functions as a cloth of honor—denoting Christ and Mary's roles as King and Queen of Heaven—as well as a barrier between the figures and the distant landscape. The parapet in the foreground acts as an additional barrier between the viewer and the holy figures. A “cartellino” (small piece of paper) is illusionistically painted on the parapet and bears the signature of Marco Palmezzano, the leading painter in the north Italian region of Emilia-Romagna during the late 1400s and early 1500s. The Walters’ panel is a typical work of Palmezzano’s, with its rigidly posed figures bathed in a strong light that provides a heightened sense of three-dimensionality. For a painting at the Walters’ by one of Palmezzano’s assistants, see 37.505.

Painted surface H: 36 x W: 28 7/16 x D excluding cradle: 3/8 in. (91.5 x 72.3 x 1 cm)

medium: oil on wood panel

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/7136

URL

This Russian lace panel was likely used to embellish the end of a bathing towel. Textiles of this type are valuable for their fine embroidery or lacemaking that included ancient folk motifs, ritual significance, exemplification of the role of textiles in their society, and in this case, connection to a prominent woman collector, Natalia de Shabelsky, without whom this textile and others like it might have been lost.

Russia, Nizhny-Novgorod province, 18th-19th century

cotton or linen (est.) straight (continuous) bobbin lace (Vologda tape lace). The tape forms figural or plant motifs outlined with gimp (heavy cord) with a monochrome plaited ground (metal thread or linen (est.) linking the tape; applied silk (est.) and metal thread ribbon

Overall: 35.5 x 46 cm (14 x 18 1/8 in.)

Did you know...

Embellishing the ends of everyday towels was a common folk tradition in many cultures because it displayed the skill of the mother or daughter who stitched them.

Purchase from the J. H. Wade Fund

clevelandart.org/art/1931.104

France, 19th century

pencil and watercolor

Gift of The Print Club of Cleveland in honor of Mrs. William G. Mather

clevelandart.org/art/1955.482

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The scene depicts two sets of battling beasts. The first is a strangely posed bull-man, wrestling with a fantastic lion-like creature; the second is another strangely posed bull-man, wrestling with a composite horned caprid/bull creature. There is one register of cuneiform.

Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.

Akkadian

H: 1 1/8 x Diam: 5/8 in. (2.9 x 1.5 cm)

medium: brown and white stone

culture: Akkadian

Walters Art Museum, 1941, by purchase.

art.thewalters.org/detail/8235

Url: gulfcolombia.com/

The horizontal format of this sacred text is derived from the earlier use of palm leaves instead of paper. This page is from the foundational work of scripture for worshippers of the great goddess Devi.<br><br>In her warrior aspect, or incarnation, Devi is multiarmed, rides a lion, and conquers demons more powerful than all the male gods. The demon holding a mountain above his head as a missile is dressed in the Central Asian belted tunic and pants of the Mughals, who ruled most of India at the time this painting was made. Devi wears the Mughal women’s style of tall flat-topped feathered headdress, and she holds a bottle and cup of liquor. Aside from these Mughal elements, the style remains staunchly indigenous, with unmodeled figures in strict profile against a flat red ground.

India, Rajasthan, Possibly Sirohi, 17th century

Gum tempera, ink, and gold on paper

Image: 12.5 x 10.2 cm (4 15/16 x 4 in.); Overall: 12.5 x 27.5 cm (4 15/16 x 10 13/16 in.)

Gift of George P. Bickford

clevelandart.org/art/1968.72

© Peter Carney

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FT Due Diligence Live 2023: Connecting leaders in finance & investing, 17 October 2023, London.

Presentación realizada en la Universidad Rafael Landívar a alumnos y alumnas de la carrera de Relaciones Internacionales sobre la ONU en el mundo, el Marco de Asistencia para el Desarrollo en Guatemala, los Objetivos de Desarrollo del Milenio y la presentación de los nuevos Objetivos de Desarrollo Sostenible.