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Thomas Kelah Wharton
American (born England), Hull 1814–1862 New Orleans, Louisiana
3 x 3 9/16 in. (7.6 x 9 cm)
medium: Graphite on white wove Bristol board
Metropolitan Museum of Art, New York, NY 1994.187.14 1994
Purchase, Mrs. Louis Marx Gift, 1994
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
Go to Page 84 in the Internet Archive
Title: Brain surgery
Creator: Starr, M. Allen (Moses Allen), 1854-1932
Creator: University of Bristol. Library
Publisher: New York : Wood
Sponsor: Jisc and Wellcome Library
Contributor: University of Bristol
Date: 1893
Language: eng
Description: This material has been provided by University of Bristol Library. The original may be consulted at University of Bristol Library
University of Bristol Library
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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This was used in masked performances of the Agrinya society, a powerful guild formerly restricted to men who had killed an elephant, lion, or man. The white pigment connotes the realm of the ancestors, while the aggressive expression of the face seems to suggest the courage of Agrinya society members.
Africa, West Africa, Nigeria, Idoma-style carver
Wood, human hair, paint, and possibly kaolin
Overall: 20.4 x 17.8 x 16.2 cm (8 1/16 x 7 x 6 3/8 in.)
James Albert and Mary Gardiner Ford Memorial Fund
Procession or Pardon at Perros-Guirec, 1891. Maurice Denis (French, 1870–1943). Oil on canvas; unframed: 55.9 x 46.4 cm (22 x 18 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift 2020.108
More at clevelandart.org/art/2020.108
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: 4.4 x 1.6 x 1.2 cm (1 3/4 x 5/8 x 1/2 in.)
Gift of the John Huntington Art and Polytechnic Trust
George Catlin
1796–1872
2 x 1 3/4 in. (5.1 x 4.4 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 38.146.13 1938
Fletcher Fund, 1938
Just like the last one, the illustration blows me away. I have a strong desire to be a better creator of characters.
While most disk fibulae are decorated with filigree, this one was made by the technique of repoussé, in which metal foil is impressed from the rear to form a raised design. The gilt silver foil, decorated with C-shaped scrolls and raised beaded outlines, is attached by four rivets onto a circular bronze base and set with four triangular-cut garnets arrayed around a green glass bead. The corroded remains of an iron clasp on the reverse once fasten the fibula to clothing and still hold imbedded wool cloth fibers. A Frankish man would have used a fibula like this one to pin his cloak at the right shoulder.
Frankish
9/16 x 1 5/8 in. (1.5 x 4.2 cm) (d. x diam.)
medium: bronze, gilded silver, garnets, glass, iron
culture: Frankish
Walters Art Museum, 1959, by purchase.
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
China, Jiangxi province, Jingdezhen kilns, Ming dynasty (1368-1644), Hongzhi mark and reign (1488-1505)
porcelain with incised and underglaze coffee brown (iron oxide) decoration
Diameter: 25.8 cm (10 3/16 in.); Overall: 26 cm (10 1/4 in.)
Severance and Greta Millikin Collection
This suite of color lithographs collected Pierre Bonnard’s observations of city life, ranging from animated street scenes to distant observations glimpsed from the artist’s Montmartre studio window. Rather than memorializing the famous monuments of Paris, Bonnard preferred to depict small neighborhood scenes populated by urbanites shopping and strolling and by vendors selling their wares. The setting for one of the prints is the second-largest public park in Paris, the Bois de Boulogne, which was a popular place for families to relax, stroll, and enjoy carriage rides around the lakes. Two prints are nocturnal scenes in which gaslight emanating from shop windows is reflected on the wet streets, creating passages of bright yellow in the otherwise dark compositions. Bonnard’s favorite subjects, such as the Parisienne—a young, fashionable, modern woman—as well as children and dogs, appear repeatedly throughout the prints in the suite.
France, 19th century
lithograph
Sheet: 41 x 53 cm (16 1/8 x 20 7/8 in.); Image: 17.4 x 43.5 cm (6 7/8 x 17 1/8 in.)
Gift of the Hanna Fund
William Rickarby Miller
American (born England), Staindrop 1818–1893 Bronx, New York
20 3/8 x 14 in. (51.8 x 35.6 cm)
medium: Watercolor, pen and ink, graphite, gouache, and gum arabic on tan wove paper
Metropolitan Museum of Art, New York, NY 1992.289 1992
Purchase, Terner Foundation Gift, in memory of Stephen D. Rubin, 1992