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The royal feast is set in a green landscape dotted with flowers and blossoming bushes against a gold sky with wisps of blue and white clouds. The group of figures in the upper left includes a falconer, horses, attendants, and two hunting cheetahs, while servers transport food and drink in gold and ceramic vessels, some presumably Chinese blue and white porcelain. Possibly this banquet was offered after a courtly hunt, a prestigious symbol of power and wealth. Among the groups of men sitting on elaborate carpets are three Chinese officials, identifiable by their black hats, kneeling together on the ground. Although their presence indicates the presence of foreign cultures within the Timurid court, the painting also reveals that not all are welcome to the feast; in the bottom half of the page a guard wields a stick to drive a group of men out of the garden.
Iran, Shiraz, Timurid period (1370-1501)
Opaque watercolor, ink, gold, and silver on paper
Overall: 32.7 x 22 cm (12 7/8 x 8 11/16 in.); Image: 26.1 x 20.7 cm (10 1/4 x 8 1/8 in.)
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The painting on this folio is the first half of a double-page frontispiece now detached from a <em>Shahnama </em>(Book of Kings) manuscript. CMA 1956.10 is the left half of the frontispiece.
John L. Severance Fund
John Singleton Copley
American, Boston, Massachusetts 1738–1815 London
14 5/16 x 22 5/8 in. (36.4 x 57.5 cm)
medium: Black chalk and white-chalk heightening on blue laid paper
Metropolitan Museum of Art, New York, NY 60.44.17 recto 1960
Harris Brisbane Dick Fund, 1960
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Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
"The scene in the sketch presents something of a bird's eye view of the great chain of Wind River Mountains, throwing up their huge heads against a warm evening sky, their lofty pinnacles crested with snow and reflecting light with the brilliancy of burnished silver;- Across the green plateau to the right, the Caravan is seen winding its slow length along. In front of this, wild and rough rocks covered with a primeval growth of hemlocks, firs, and pines jut out into the river that is sweeping by, fed by the melting snows of the mountians. In the immediate foreground some Trappers are galloping to join a party who are on the extreme end of the bluff, looking at the 'promised land' which forms their mountian home; for at the base of these, they expect to meet large bands of their brother Trappers with whom they promise themselves a grand carouse and drinking bout;- in order to repay themselves for the abstinence they are compelled to observe in a military and well-governed camp." 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.
8 9/16 x 12 7/16 in. (21.8 x 31.6 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
Parasol Handle, c. 1886–1903. Michael Evlampievich Perchin (Russian, 1860–1903), House of Fabergé (Russian, 1842–1918). Gold, enamel, diamonds, and platinum filigree; 8.5 cm (3 3/8 in.); diameter: 3.2 cm (1 1/4 in.). The Cleveland Museum of Art, Bequest of John B. Black 2018.226
More at clevelandart.org/art/2018.226
George W. Stevens
ca. 1820–91
2 1/2 x 2 in. (6.3 x 5 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 2006.235.188 2006
Fletcher Fund, 2006
[url="http://www.livemaster.ru/item/1131964"][img]http://cs1.livemaster.ru/foto/300/1473662953.jpg[/img][/url]
This is the first of two albums boxed together with an external title reading <em>Famous Early Modern Calligraphers and Painters. </em>It begins with a lengthy inscription in Chinese by the Japanese artist Rai Sanyō (1780–1832) dated to 1817, and concludes with another, undated, by Tanomura Chikuden (1777–1835). In between, there are undated poems in Chinese by other Japanese artists, Nukina Kaioku (1778–1863), Rai Shunpū (1753–1825), Rai Kyōhei (1756–1834), and Kan Sazan (1748–1827), as well as paintings by Okada Hankō (1782–1845), Totoki Baigai (1749-1804), Nakabayashi Chikutō (1776-1853), Uragami Shunkin (1779-1846), Watanabe Kazan (1793-1841), Tsubaki Chinzan (1801-1854), and Nukina Kaikoku. While most of the paintings are not dated, those that are indicate that the group was painted over a large span of time, rather than on a single occasion. Nakabayashi Chikutō’s Chinese hermit treads a waterfall-dominated landscape dated 1808, while Nukina Kaikoku’s solitary Chinese boatman beneath a flock of geese is from 1849. The paintings are landscapes or floral images and follow recognizable Chinese brush methods transmitted to Japan through a variety of methods including printed manuals. The plants have symbolic meanings, sometimes related to their names in Chinese, which may be homonyms for terms like success or achievement. They often recall human qualities or desires, such as hardiness or longevity. The calligraphers and painters whose works are represented in the album were all deeply interested in Chinese culture. They were especially attracted to the idea they found in Chinese society of a community of educated friends who shared works in prose, poetry, and painting among one another through correspondence or gatherings. The ideal was a group who were not professional artists, creating works for clients, but a group who produced works to nurture friendships and cultivate their own minds. The cover of the album has a title slip reading <em>Album of Precious Works</em>, and is signed Chikutei Fu or Kan (竹釡 or possibly a much abbreviated 鍳), with a round, red seal reading Chikutei. This is a pseudonym used most likely by a Japanese person interested in calligraphy composed in Chinese and paintings with Chinese styles and themes. The name evokes a pavilion set in a bamboo grove, an image strongly associated with China in Japan. It is also likely that this person assembled the works into the album. Pseudonyms of this type were and continue to be used by those engaged in cultural pursuits such as poetry composition, painting, and collecting art. Having such a name takes one out of the normal business of life, and transports one to a space of creativity and aesthetic appreciation.
Japan, Edo period (1615–1868)
One of a pair of folding-albums; ink and color on silk and paper
Album, closed: 31 x 21 cm (12 3/16 x 8 1/4 in.)
Gift of Mary B. Lee, C. Bingham Blossom, Dudley S. Blossom III, Laurel B. Kovacik, and Elizabeth B. Blossom, in memory of Elizabeth B. Blossom
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This whimsical, saddled, and fully harnessed but riderless horse was part of a larger curtain or wall hanging of a type popular in the late 5th and early 6th century.
Curtains and wall hangings were used in private homes, as well as in public and religious buildings, to prevent drafts, divide spaces, and provide privacy. The tapestry weave of this piece is ideal for such textiles, as it produces a design that can be viewed from either side.
The complete hanging likely would have had many identical roundels (one is in the Cleveland Museum of Art) in staggered rows on a background interspersed with baskets and birds. These designs are traditionally Egyptian, while the roundel borders of heart or rose petal chains and the stylized trees are adapted from imported Sassanian silks.
H: 16 1/8 x W:17 5/16 x D: 1/16 in. (41 x 44 x 0.1 cm)
medium: wool
Walters Art Museum, 1931, by bequest.
5 1/4 x 6 3/4 in. (13.3 x 17.1 cm)
medium: Stoneware
Metropolitan Museum of Art, New York, NY 27.17.40a, b 1927
Rogers Fund, 1927
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This pendant represents a jaguar, an animal with which a warrior would have wanted to be associated. The animal's mouth is open to display its dangerous teeth, and the end of its characteristic tail is curled upwards. The front feet have loops for suspension.
Raw and refined gold was as valuable as it was symbolic to the people of Precolombian Panama. Because of its reflective nature, which mirrored the shining sun, working with and wearing gold signaled a characteristic of the divine. In order to create complex and beautiful gold pieces, many goldsmiths adapted the lost wax method of metallurgy. This technique—probably initially developed in the Northwest region of Colombia—used wax and clay to create a mold, enabling molten metal to be poured into the cast and melt the surrounding parts to produce exquisite and thin ornamentation.
Pendants were worn by men around the neck on ceremonial occasions. Columbus noted that the inhabitants of Panama who came to greet him wore gold pendants in the shape of eagles. This piece could have been created in Columbus's time or during the previous 600 years.
Panamanian
1 3/8 x 3 9/16 in. (3.5 x 9 cm)
medium: gold and copper alloy
culture: Panamanian
Walters Art Museum, 1931, by bequest.