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This plaque is probably one of several that decorated the side of a throne. The man's hair and costume are similar to those on the huge wall relief, and they are probably about the same date.
Assyrian, Iraq or possibly Syria
bronze, solid cast
Overall: 7.3 x 3.8 cm (2 7/8 x 1 1/2 in.)
Andrew R. and Martha Holden Jennings Fund
Each morning, the sun was reborn into the world, often in the form of a young child like the one represented in this pendant. Here, the sun child wears an elaborate necklace and sun disk with a protective uraeus snake on his head. On the right side of his head, he wears a braided ponytail (part of which is now missing). This "side-lock of youth" was a common hairstyle for children in ancient Egypt.
Egyptian
H: 3 5/8 x W: 7/8 x D: 1 7/16 in. (9.2 x 2.3 x 3.7 cm)
medium: cast bronze cast with gold inlay
culture: Egyptian
Walters Art Museum, 1931, by bequest.
Wearing a pink garment, the prince sits in a characteristic position on a striped carpet against a bolster, while holding a little white flower in his left hand. Behind him stands an attendant with a flywhisk. The pungent yellow background was favored by early Pahari artists, and the idealization notwithstanding, the two figures are rendered in exquisite detail worthy of a master artist.
H: 7 3/8 x W: 5 3/16 in. (18.7 x 13.2 cm)
Framed H: 20 1/8 × W
15 3/16 × D: 1 1/4 in. (51.12 × 38.58 × 3.18 cm)
medium: opaque watercolor on paper
Walters Art Museum, 2001, by gift.
Morris sought to produce textiles that could function as he imagined medieval wall hangings had, bringing warmth to stone-cold rooms. Boldly designed with soothing colors in thick wool,<em> Peacock and Dragon</em> is the closest Morris came to achieving this ideal. In the same year he designed this textile, Morris visited the shop of the London dealer Vincent Robinson, where he saw a room re-created from Damascus, “all vermillion and gold and ultramarine, very beautiful, and is just like going into the Arabian nights.” It partly inspired the exotic motifs seen here. This design was one of the most popular among Morris’s customers; it was available in five colorways.
England, Surrey, Merton Abbey
weft-faced compound twill; wool
Overall: 206.6 x 174.7 cm (81 5/16 x 68 3/4 in.)
Gift of Mrs. Philip White
The elegant works of Jean-Marc Nattier exemplify mid 18th-century French portraiture. Although he was admitted to the Académie Royale (Royal Academy) as a painter of historical subjects (then ranked as the highest category of painting), Nattier specialized in the less prestigious genre of portraiture. Though he worked at the court of Louis XV, he broke with the baroque tradition of grandiose portraits. Instead, he produced naturalistic paintings of Queen Marie Leszczynska and her daughters, as well as Madame de Pompadour and other members of the nobility.
The subject of this light-hearted, informal portrait is currently unknown. Previous scholarship, however, identified the young woman as the wife of Antoine-René de Voyer d'Argenson, marquis of Paulmy, who was minister of war under Louis XV and French ambassador to Poland. The museum continues to research this painting and its sitter.
H: 39 15/16 x W: 31 11/16 in. (101.5 x 80.5 cm)
medium: oil on canvas
reign: Louis XV (1715-1774)
Walters Art Museum, 1931, by bequest.
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Egypt, Middle Kingdom (2040–1648 BCE)
faience
Overall: 61.5 cm (24 3/16 in.)
Gift of the British School of Archaeology in Egypt
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This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund