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This small night lamp is made almost entirely of Louis Comfort Tiffany's signature Favrile glass. In the 1880s when Tiffany began collaborating with glass artists on new types of production, his aesthetic ambitions were realized in the development of Favrile glass, deliberately named to sound French, expensive, and “handmade.” Largely through Tiffany's marketing ability, Favrile glass became America’s greatest contribution to the Art Nouveau style. His works were exhibited at international expositions; galleries in major European cities, where his creations were bought by many museums; and in his store in Manhattan, known as the Tiffany Glass and Decorating Co., later Tiffany Studios. From the outset, Tiffany used Favrile glass in mosaic panels, stained glass windows, and his artistic line of table and floor lamps.
America, New York
Favrile glass
Overall: 32.4 cm (12 3/4 in.); Diameter of base: 17 cm (6 11/16 in.)
Did you know...
Mushrooms were a popular Art Nouveau motif used throughout Louis Comfort Tiffany's artistic production.
Bequest of Charles Maurer
In the process of mummification, the liver, lungs, stomach, and intestines were removed, separately embalmed, and stored in specialized jars known as canopic jars (after a sailor in Greek mythology, who died at the town of Canopus in the Nile Delta and was worshipped there in the form of a human-headed jar). Each organ was identified with one of four funerary deities collectively known as the Sons of Horus: the liver with Imsety (man's head), the lungs with Hapy (baboon's head), the stomach with Duamutef (jackal's head), and the intestines with Qebehsenuef (falcon's head). It was their duty to protect the deceased and restore to him his body parts in the hereafter.
Egypt, Late period (715–332 BCE), Dynasty 26
travertine
Diameter: 16.6 cm (6 9/16 in.); Diameter of mouth: 9 cm (3 9/16 in.); Overall: 38.8 cm (15 1/4 in.)
The Charles W. Harkness Endowment Fund
7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr
Seated spectators and splendidly clothed ladies and gentlemen on horseback watch May Day festivities in this tapestry. In the middle distance, archers prepare to shoot at a bush and bird placed atop a maypole, while more spectators congregate in the receding landscape. A border of rolled acanthus leaves and flower garlands frames the scene. This scene is one of twelve so-called Months of Lucas tapestries, each depicting activities that coincide with a month of the year. <br><br>The original “Months of Lucas” was a sixteenth-century Flemish tapestry set that was owned by the French monarchy and mistakenly attributed to Lucas van Leyden during the 1600s. To this day, they continue to be known as the “Months of Lucas.” This original set was burned in 1797 so their gold and silver metal threads could be used to replenish the depleted French coffers. <br><br>Beginning in the 1600s, the popular Months of Lucas were reproduced in several different versions under various masters at the Gobelins Manufactory in Paris, the famous royal production center for French tapestries since Louis XIV (1638–1715). The lower right hand corner of this tapestry bears the signature of Michel Audran (1701–1771), director of the Gobelins high-warp loom workshop from 1732–71, who produced this tapestry for a private patron in addition to the other royal commissions of the set.
France, 18th century, Period of Louis XV (1723-1774)
tapestry weave: linen warp, wool and silk wefts
Overall: 2841.9 x 454.3 cm (1118 7/8 x 178 7/8 in.)
The Elisabeth Severance Prentiss Collection
This block statue depicts a figure in squatting position. It has an inscription on the sides and front of the kilt, and in columns on the rear.
Egyptian
H: 3 5/8 in. (9.2 cm)
medium: black granite
culture: Egyptian
dynasty: 22nd Dynasty
Walters Art Museum, 1931, by bequest.
The<em> Sat Sai</em> is a collection of poems mainly describing the beauty of women in a range of emotional states. The heroine of this poem sits against a tree that is in full flower, like her, but her lover is absent, and other girls walk by, gossiping. Not coincidentally, her dress matches the color of the blossoms, and no bees come to pollinate.
India, Himachal Pradesh, Pahari Kingdom of Garhwal or Guler
Gum tempera and gold on paper
Image: 19.3 x 14.2 cm (7 5/8 x 5 9/16 in.); Overall: 26.5 x 21.1 cm (10 7/16 x 8 5/16 in.)
Andrew R. and Martha Holden Jennings Fund
High demand for shawabtys in the Late Period, a time when as many as 400 or more shawabtys were placed in the tomb with the deceased, gave rise to a specialized container for storing them: the shawabty box. This example is inscribed for the lady of the house, Ditamenpaankh, and was probably one of a pair originally made for her. The single-masted boat on the box's lid is perhaps an allusion to the pilgrimage of the deceased to the holy city of Abydos, the cult city of Osiris, king of the dead. The shawabtys inside are crude, mass-produced examples cast in an open mold. Made of terracotta, their blue paint imitates more costly shawabtys made of faience. As for the shawabty spell, it has been removed from its traditional location on the shawabty's front and relocated onto the sides of box, where it needed only to be written once, thus expediting production.
Egypt, Late period (715–332 BCE), Dynasty 25
terracotta
Overall: 6 x 1.7 x 1.5 cm (2 3/8 x 11/16 x 9/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
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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
This tapestry (originally even larger) was woven on a single loom for the great hall of a nobleman's estate. It provided insulation against winter cold and decoration for an otherwise austere environment.
Here the young Greek prince Meleager prepares to hunt the Calydonian Boar, a story told by the Roman poet, Ovid. Meleager gathers heroes of ancient Greece - including Jason, Theseus, Nestor, and Peleus - to chase the savage wild boar sent by the goddess Diana to ravage the lands of his father the king of Calydon. In front of the left column is the brave and beautiful Atalanta, later beloved of Meleager. She will kill the boar with a lance (held by an attendant).
Hunting wild boar was a privilege reserved to the nobility and was validated and glorified in the eyes of contemporaries by representations of heroic hunts from the mythic past such as this one.
Medieval / Early Renaissance European
H: 192 15/16 x W:164 3/16 in. (490 x 417 cm)
medium: wool
style: Gothic
culture: Medieval / Early Renaissance European
Walters Art Museum, 1931, by bequest.
This symmetrical oval plaque has icons and inscriptions on both sides. The front depicts an icon and image of King Thutmosis IV (1397-1388 BCE); on the back is a representation of a vulture combined with the royal name. Both sides are executed in sunk relief with deeply incised outlines and finer lines on the inner structures. The sides are smoothed and the layout is balanced. The piece is carefully made.
The plaque functioned as an individualized amulet, and was originally mounted and threaded. The amulet should secure the divinity and royal authority for the king, as well as divine protection; it should provide a private owner with his royal patronage and divine protection.
The figure of the vulture above a cartouche is less common on scarabs; more often are examples displaying the vulture with outstretched wings at the side of the royal name. Oval plaques of this type are typical for the 18th Dynasty, especially for the period of the reign of Thutmosis III (1479-1425 BCE)-Amenophis III (1388-1351/1350 BCE).
Egyptian
H: 3/16 x W: 1/2 x L: 3/4 in. (0.5 x 1.3 x 1.9 cm)
medium: light beige faience with blue-green glaze
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV (1397-1388 BC)
Walters Art Museum, 1931, by bequest.
In this watercolor, acrobats and circus jugglers emerge from a complex pattern of shapes and colors. Two jugglers share a face and torso. A member of Der Blaue Reiter group in Munich, Paul Klee believed that the elements of color and shape alone could carry connotations of emotions, moods, and subjective feelings. His method was to begin painting without a subject, only settling upon something that could be recognized after layering colored form upon colored form.
Germany, 20th century
watercolor
Sheet: 24 x 23.5 cm (9 7/16 x 9 1/4 in.); Secondary Support: 34.5 x 29.3 cm (13 9/16 x 11 9/16 in.)
Contemporary Collection of The Cleveland Museum of Art
These brooches functioned as garment clasps (much like the generally larger fibulae) and are distinctive for their decorative enamels. The art of enameling was highly popular among the conquered peoples who lived on the outskirts of the Roman empire, chiefly the Celts and the Gauls. Though the enameling technique was practiced by the Romans themselves on small objects, the brightly colored decoration readily appealed to "barbarian" taste. By the AD 200s, enameled brooches like these were being made in abundance by the native peoples of Britain and Gaul (modern France and Belgium).
Gallo-Roman or Romano-British, Migration period
bronze and champlevé enamel
Overall: 5.3 x 5.3 x 1.6 cm (2 1/16 x 2 1/16 x 5/8 in.)
Purchase from the J. H. Wade Fund
In 1891, Henri Cross began painting in a pointillist style influenced by Georges Seurat and Paul Signac. He also left Paris and moved to the south of France, settling in Saint-Clair, a small village near Saint-Tropez. There, he concentrated on seascapes and scenes of peasants in harmony with nature. The sensuous silhouettes of cypresses and the swaying circle of figures by the water’s edge exemplify Cross’s decorative treatment of landscape, also recalling the Japanese color woodcuts and Art Nouveau designs that inspired other neo-Impressionists at the time.
France, 19th century
color lithograph on chine collé
Gift of The Print Club of Cleveland in memory of Mrs. Ralph King
The style and quality of this manuscript's decoration is typical of deluxe Parisian books made for aristocratic or royal patrons. Most of the book's decoration appears to be the work of the Master of the Boqueteaux, an artist active at the court of King Charles V (died 1380). His style was apparently shared by a number of book illuminators working in and around Paris. It is very possible that the <em>Gotha Missal</em> belonged to Charles V, but is not provable because the manuscript has no royal portraits and lacks a colophon. Given the book's magnificent decoration, however, it would seem that it was produced for a Valois prince, if not for the king himself. The manuscript receives its name from the German dukes of Gotha, its later owners.
France, Paris
ink, tempera, and gold on vellum; blind-tooled leather binding
Codex: 27.1 x 19.5 cm (10 11/16 x 7 11/16 in.)
Mr. and Mrs. William H. Marlatt Fund
Within a roundel are a pair of mounted Amazons, addorsed and shooting backward at lions, which attack their running horses. The roundel frame is filled with stylized floral motifs and is bordered on the inside by a band of tiny hearts and on the outside by a guilloche. At the four axial points, smaller circles with the same design as the border of the roundel are superimposed. Only a fragment of foliate motif of the interstices remains. The design is ecru on deep bluish-purple.
Egypt or Syria(?)
samite: silk
Overall: 22.2 x 23.5 cm (8 3/4 x 9 1/4 in.); Mounted: 31.1 x 31.8 cm (12 1/4 x 12 1/2 in.)
Purchase from the J. H. Wade Fund