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Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna.
Fabergé's revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloché," or mechanically engraved gold, is demonstrated in the shell of the egg. So meticulously did Fabergé's workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees.
H: 5 x W: 3 9/16 in. (12.7 x 9.1 cm)
medium: gold, "en plein" enamel, silver-gilding, portrait diamonds, rock crystal, and seed pearls
Walters Art Museum, 1931, by bequest.
According to legend, Saint Jerome (347–420 bce) lived in the desert, where he removed a thorn from an injured lion. Jerome is venerated in the Catholic Church as a Church Father, an important early author of Christianity. Here, he wears cardinal’s clothing from around 1500.<br><br>Tilman Riemenschneider focused on Jerome’s relationship with the lion, creating empathy for the wounded animal. The delicacy of the depiction, which may have been partially painted to add highlights, is typical of alabaster, as is its fine polishing. The cord of the cardinal’s hat, missing today, may have been supplemented from another material.
Germany, Würzburg, late 15th Century
alabaster, traces of polychromy
Overall: 37.8 x 28.1 x 15.9 cm (14 7/8 x 11 1/16 x 6 1/4 in.)
Did you know...
In the story Saint Jerome encounters a fearsome lion, here depicted as diminutive, gentle, and submissive.
Purchase from the J. H. Wade Fund
temporal: Renaissance
ungerahmt: 26 × 30 cm
mat: Öl auf Holz
class: Malerei
type: Gemälde
provenance: 1935 (?) Moritz Lindemann, Wien. – 1945 Nachlass Robert Maurer, Wien. – 2020 Schenkung Sammlung Maurer, Wien
Österreichische Galerie Belvedere
Österreichische Galerie Belvedere / Schenkung Sammlung Maurer
sammlung.belvedere.at/objects/55642/kopf-des-holofernes-o...
A knight depended on his horse both as a weapon and a means of defense. He therefore had to take great care to protect his charger. From the 1100s on, knights first covered their steeds in trappings of fabric and later of mail. By around 1400, full steel plate armor for horses was complete. It is possible that this armor made for both man and horse originally belonged to a "garniture," an armor with multiple customized exchange elements that could convert the basic suit to various field and sporting uses. With different pieces of the garniture attached, this suit could have been worn either in battle or in various tournament games. The total combined weight of both the man's and horse's armor is 114 pounds. The etched decoration of this armor is of a type that became fashionable in northern Italy during the late 1500s. It consists of ornamental bands of etched figures, animals, portrait busts, and armor trophies. In addition, a coat of arms is represented seven times in different places—the center of the breastplate and blackplate, the front and back of each pauldron (shoulder defense), and the center of the peytral (horse's breastplate). The coat of arms is that of the Colonna family quartered with another, still unidentified family. It probably belonged to an unknown member of the Völs-Colonna family from the South Tyrol, now part of northern Italy.
North Italy, 16th century
steel
Did you know...
The Vols-Colonna family crest is found seven times in prominent locations on this armor set for horse and rider.
John L. Severance Fund
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
greenmarine.se (on the sticker on the boat-lifter.) A number of the docks we passed had boats of this size lifted out of the water - apparently saves on hull maintenance and cleaning, and you don't have to winter it somewhere else.
During the 1860s, Boudin executed many paintings and watercolors representing well-to-do tourists and vacationers enjoying seaside resorts in Normandy, principally Trouville and Deauville. In this scene, the informally posed figures suggest a sense of relaxation and intimacy. The overturned chair in the foreground underscores the impression of a casually observed moment, as though a sea breeze or a quick departure by its former occupant has upended it. The majority of Boudin's small oil paintings of beach scenes of the 1860s were executed on wood panel. After laying down a thin white ground, Boudin seems to have begun painting directly, not drawing or laying in guidelines for the forms. The result is a freshness and airiness appropriate to a windy day at the beach.
France, 19th century
oil on wood panel
Framed: 45.7 x 36.8 x 3.5 cm (18 x 14 1/2 x 1 3/8 in.); Unframed: 34.7 x 26 cm (13 11/16 x 10 1/4 in.)
Did you know...
Boudin evokes the feeling of wind by painting the fluttering blue dress, the beach walker leaning to the left, the whitecaps on the water, and the angle of the sails on the boat in the distance.
Gift of Mrs. Homer H. Johnson
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This steatite scarab is the bezel of a finger ring. Its flat underside is incised with a vertically arranged design of a pair of facing, connected "Udjat" eyes with script signs below. The design of the back of the scarab is simple with short and aligned carved side-notches and a well proportioned layout. The workmanship of the piece is slightly rough and it is not very carefully made.
This scarab originally functioned as an amulet. It should protect the life and regeneration of its owner and provide divine support. The piece was originally mounted or threaded.
The very stylized shape of "Udjat"-eye-pair was common in the late Middle Kingdom and the Second Intermediate Period.
Egyptian
H: 3/8 x W: 11/16 x L: 15/16 in. (0.9 x 1.8 x 2.4 cm)
medium: light brown steatite with green-blue glaze and bronze setting
culture: Egyptian
dynasty: 15th Dynasty
Walters Art Museum, 1931, by bequest.