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Surely intended for the use of a monk, this pendant represents a head divided to depict a monk on one half, and a skull on the other, making explicit the user's own mortality and the certainty of death. The carver conveys the reality of impending death in the monk's eyes rolling into his head, his parted lips, and his pallor, which is suggested by the natural color of ivory. Given the attachment for metal loops on the top of the head and at the base of the skull, it is most likely that this head was part of a string of beads
H: 2 3/4 × W: 1 13/16 × D: 2 in. (7 × 4.6 × 5.1 cm)
medium: ivory, painted brass (rings), cord/string
Walters Art Museum, 1931, by bequest.
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This large plate is considered to have been produced in Kyushu, and is in a palette of Ko-Kutani style works called <em>aode</em> (literally, bluish-green hand) for the deep blue, green, purple, and yellow overglaze enamels that completely cover their surfaces. Ko-Kutani means “old Kutani,” and can refer to two kinds of porcelains. One kind is said to have been produced in the village of Kutani in present-day Ishikawa prefecture in the mid-1600s through the early 1700s. The other kind, decorated with similar glazes and designs, was produced in the former Arita domain of present-day Saga prefecture in Kyushu.
Japan, Edo period (1615–1868)
Porcelain with underglaze black and overglaze enamel (Hizen ware, Ko-Kutani style)
Diameter: 33.4 cm (13 1/8 in.); height: 6.2 cm (2 7/16 in.)
Did you know...
Persimmons ripen in autumn and are often associated with that time of year.
Severance and Greta Millikin Collection
Couthon was originally a supporter of a constitutional monarchy for France, but he became associated with Maximilien Robespierre and was named president of the Convention in 1793. Together with Robespierre he introduced the Reign of Terror. Couthon was guillotined in 1794. The inscription reads in translation, "Couthon: God and the law, virtue, and probity are the order of the day, [there can be] no Republic without morals, without patriotism, [and] without Virtue."
Approx. Diam: 5 1/2 in. (13.97 cm)
medium: bronze
Walters Art Museum, 2006, by gift.
The mosque of the Sultan El Ghoree was built by the Mamluk Sultan, Qansuh al-Ghuri (ruled 1501–16) according to sacred proportions. The lavish complex included an elegant fountain, a college, and the sultan’s own mausoleum, which was never used. Today, the mosque is still part of the historic urban fabric of modern Cairo. This print shows a view into its interior. <br><br>Artist David Roberts travelled in the Middle East and North Africa, particularly Egypt, from 1838 to 1839. During his journey, Roberts produced a great number of sketches. He developed these into watercolors, which were the basis for a series of 247 lithographs made by Louis Haghe, of which this is one.
England, 19th century
color lithograph
Gift of J. Byers Hays
The greatest English botanical publication of the early 19th century was Dr. Robert John Thornton’s <em>Temple of Flora. </em>Although Thornton studied medicine, his passion was botany and he soon embarked upon a major publishing venture that brought him both fame and financial ruin. The work, <em>New Illustrations of the Sexual System of Linnaeus,</em> was the most sumptuous botanical publication ever produced. The third section, the famous <em>Temple of Flora,</em> has 28 flower portraits set not against a plain conventional background but in the full richness of their natural setting. Unfortunately the day of the great <em>florilegia</em> had passed and Thornton died in poverty in 1837.
England, late 18th-early 19th Century
aquatint, stipple, and etching with watercolor added by hand
Gift of The Print Club of Cleveland
Kids that read Succeed! Reading a book is a great excuse for peace and quiet. What will you be reading today on#InternationalLiteracyDay ?
The Roman practice of mounting gold coins as jewelry continued in the Early Byzantine period with this section from a necklace. The other half would have been a mirror image, with gold and lapis lazuli "double-cone" beads and two more coins of Emperor Maurice Tiberios (ruled 582-602). The cross pendant, seen here with a glass bead, may once have contained a precious stone.
Byzantine
H: 7 7/8 x W: 1 1/16 x D: 3/8 in. (20 x 2.6 x 1 cm)
medium: gold, lapis lazuli, and glass
culture: Byzantine
reign: Maurice (AD 582-602)
Walters Art Museum, 1931, by bequest.
France, Nancy, 20th century
glass blown into bronze cage
Diameter: 17.5 cm (6 7/8 in.); Overall: 12.4 x 24.2 cm (4 7/8 x 9 1/2 in.)
Gift of Mrs. Robert I. Gale, Jr., Mrs. Caroline Macnaughton and Fred R. White, Jr.
Anne Annesley (née Courtenay, 1774–1835) was the eighth daughter of William 2nd Viscount Courtenay, and sister of William 3rd Viscount Courtenay, who commissioned numerous paintings of himself and his six sisters from Richard Cosway in oil and miniature. William’s expenditure for these works between 1790 and 1812 reached £1,370, a bill that wasn’t paid in full until 1820. Anne married George Annesley, later 2nd Earl of Mountnorris, in September 1790. Cosway, who frequently depicted female sitters in gauzy white gowns, lavished attention on Anne’s attire. Her pale yellow coat is lined with fur that is sensitively delineated with a combination of short brushstrokes distinct from those that form her dark, wavy hair. Fur-trimmed jackets like this one would probably have been worn indoors by women during the colder months.
England, 19th century
watercolor on ivory in a gold frame
Framed: 9 x 7.3 cm (3 9/16 x 2 7/8 in.); Unframed: 8.3 x 6.4 cm (3 1/4 x 2 1/2 in.)
Did you know...
Another version of this portrait is nearly identical to the Cleveland miniature and was likely for another friend or member of Anne's family.
The Edward B. Greene Collection