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Maria Clementina Sobieska (1702-1735), the granddaughter of King John III of Poland, married James Francis Edward Stuart, the "Old Pretender" to the British throne when she was sixteen years old and lived mostly in Italy. She died very young, but had two sons, one of whom, Charles Edward Stuart (Bonnie Prince Charlie), was the "Young Pretender." The subject's royal status is indicated by the crown at her right. She wears a large stomacher in the form of a bouquet of jeweled and enameled flowers. A single jewel is mounted above her forehead and looped over her shoulder is a magnificent rope of pearls.
For more information on this painting, please see Federico Zeri's 1976 catalogue no. 389, pp. 504-505.
Painted surface H: 32 x W: 25 1/2 in. (81.3 x 64.8 cm)
Framed H: 43 1/16 × W: 37 15/16 × D: 2 3/8 in. (109.3 × 96.4 × 6 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
The two mosaic fragments of an ibex and a ram (1969.114) once formed part of a much larger floor mosaic that decorated an early Byzantine church in northern Syria. Displayed upright in the museum context, these mosaic fragments were originally displayed flat, possibly flanking the church's altar to evoke a paradise setting. The mosaic fragment showing the Fall of Adam and Eve (1969.115) is likely to have formed part of the same floor.
Byzantium, Northern Syria, Byzantine period, 5th century
marble tesserae
Overall: 89.5 x 85.1 cm (35 1/4 x 33 1/2 in.); Mounted: 92.1 x 87 cm (36 1/4 x 34 1/4 in.)
John L. Severance Fund
The wrathful deity Mahakala supports followers of the Buddhist teachings, warding off external threats to their well-being and helping them overcome internal obstacles to their spiritual goals. With his curved knife, he destroys forces such as ignorance and hatred, impediments to enlightenment that are symbolized by the blood that fills his skull cup. The five skulls in his crown symbolize the transformation of the five mental afflictions (delusion, hatred, pride, desire, and jealousy) into the five types of wisdom belonging to a Buddha. His garland of severed heads—understood to consist of fifty heads, regardless of the number represented—relates to the fifty letters of the Sanskrit alphabet (the language of many Buddhist texts) and symbolizes the pure speech of a Buddha.
Artists created this remarkable sculpture by hammering sheets of metal to form the body and attaching hands, feet, and ears cast from molds. Within the shrine for which it was most likely made, Mahakala's gilded body would have glimmered in flickering candlelight, enhancing his dramatic features.
H: 13 3/4 × W: 8 3/4 × D: 6 in. (34.93 × 22.23 × 15.24 cm)
Base H: 2 5/8 × W: 9 15/16 × D: 6 7/8 in. (6.6 × 25.3 × 17.4 cm)
H on base: 16 9/16 in. (42 cm)
medium: gilded copper alloy with paint and semiprecious stones
given to Walters Art Museum, 2015.
This neoclassical vase (one of a pair) is distinguished by its satyr-head handles. The ground is a color known as "bleu nouveau," and rich oak and laurel garlands in gold surround the painted decorations. At Sèvres, a plaster model for this oviform shape is inscribed with the name of the sculptor Etienne-Maurice Falconet (1716-1791), but the designer was more likely the director of sculpture at the manufactory, Louis-Simon Boizot (1743-1809). Jean-Louis Morin (1731-1787) decorated the vase with harbor scenes, and Jean Pierre Boulanger père (1722-1785) was responsible for the gilding. There is a similar vase in the Wallace Collection, as well as in the Palazzo Pitti in Florence.
H: 16 3/4 in. (42.6 cm)
medium: soft paste porcelain with enamels and gilt
by bequest to Walters Art Museum, 1931.
[1] no. 44
Russia, St. Petersburg
gold with transparent enamels
Overall: 7.4 cm (2 15/16 in.)
The India Early Minshall Collection
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