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91 3/4 x 44 5/8 x 24 5/8 in. (233 x 113.3 x 62.5 cm)
medium: Mahogany, mahogany veneer, yellow pine, yellow poplar, northern white cedar; brass
Metropolitan Museum of Art, New York, NY 18.110.4 1918
John Stewart Kennedy Fund, 1918
This piece was designed by Louis Comfort Tiffany and executed by Tiffany & Co., the firm established in New York in 1837 by Louis Comfort Tiffany's father, Charles. On Charles's death in 1902, LCT, as he was known, became artist director of the firm. When this piece was shown at the Panama-Pacific International Exposition held in San Francisco in 1915, it was described simply as a "Gold Cup," but the patterns used may have been inspired by Indian metal work, while the technique of transparent enamel was revived in late 19th-century France, and looked back to the art of the Medieval period. "The Jewelers' Circular" described this piece as follows: "cup of 18 karat gold covered with richly chased design of Indian ornament. This cup is elaborately pierced and filled with transparent enamels of rich blue and turquoise, the same tones being repeated on the foot." According to a Tiffany & Co. pattern book, this cup (18194) was completed on 13 July 1913 and the cost of labor and fabrication was $2,500. The pattern book also states that the cup was "enameled at the store," which would indicate that the body of the cup was made in the silver division of the firm in New Jersey and then enameled in New York, under the direction of Julia Munson Sherman, one of a group of so called "Tiffany Girls," who worked at the firm but who was not credited. Sherman left the firm the year after this cup was made when she married, as Tiffany, like many other employers at the time, would not employ women who were enaged to be married or married.
H: 8 11/16 x Diam: 9 13/16 in. (22 x 24.9 cm)
medium: gold, transparent enamel
Walters Art Museum, 1931, by bequest.
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
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
"Among the wild animals of the West, none gave us so much pleasure, or caused such excitement, as the bands of wild horses that at intervals came under our view. The beauty and symmetry of their forms, their wild and spirited action,- long full sweeping manes and tails - variety of color, and fleetness of motion,- all combined to call forth admiration from the most stoical. One of the greatest difficulties we experienced was to get near enough. They fought shy and held us at a long range,- shewing that they were prudent and sensible, in addition to other fine qualities;- often we had to resort to a telescope. The wheel like trained columns of cavalry, charge, scatter, and form again;- again they are seen in battalions scampering across the prairie, stopping for a moment,- snuffing the breeze,- taking a final look at the intruders from the last undulation, and are gone. The sketch will convey to the observer some idea of this glorious scene,- but it is almost impossible to catch such magic convolutions and secure the spirit of such evanescent forms under the excitement and difficulties that may be readily imagined to transpire at the moment." 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.
H: 8 1/4 x W: 12 15/16 in. (21 x 32.9 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
A warrior would have worn this helmet over a cloth turban. He would have been confident of being safeguarded in battle by the writing around the helmet's rim. The inscription from the Qur'an is garbled, however, indicating that its Iranian maker may not have known Arabic. Yet the presence of Arabic writing apparently was thought to be enough to invoke the protective power of God's word.
This helmet once belonged to the royal arsenal in Istanbul, Turkey. It was probably part of the war booty amassed by the Ottoman Dynasty during the many wars between Turkey and Iran. Later, it was owned by the French painter Jean-Léon Gérôme, who traveled throughout the Near East and painted many scenes of Muslim life.
Islamic
H: 15 3/16 x Diam: 9 3/16 in. (38.5 x 23.4 cm)
medium: steel, engraved and inlaid with silver
culture: Islamic
Walters Art Museum, 1931, by bequest.
UNRELEASED SUGE FOOTAGE: TALKING HITMAN & URL + BATTLERS LYING ABOUT THEIR BAG!!!
battledomination.com/unreleased-suge-footage-talking-hitm...
Esther, the wife of the Persian king Ahasuerus, effectively concealed her Jewish identity until the prime minister Haman hatched a plot to annihilate the kingdom’s Jews. To save her people Esther persuades the king (at the center) to rescind his order. He then turns against Haman, who slumps in his seat, aware of his sudden fall from power and his bleak future.
Netherlands
oil on canvas
Framed: 96.5 x 119.5 x 11 cm (38 x 47 1/16 x 4 5/16 in.); Unframed: 70 x 93 cm (27 9/16 x 36 5/8 in.)
Did you know...
At the center of this biblical scene, Steen included elements of a typical Dutch still life: a <em>Roemer</em> glass, a half-peeled lemon, and a blue-and-white porcelain dish.
John L. Severance Fund