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This Easter egg, like the subsequent ones produced by Fabergé for the imperial family, contains a surprise when opened. In this case, the egg opens to display a yellow enameled cover, resembling an egg yolk, which then opens to reveal a tiny replica of the Russian imperial crown, containing either a ruby or a pink sapphire suspended on a chain.
Russia, St. Petersburg
gold, enamel, lapis lazuli, pearls, diamonds, rubies
Did you know...
This tiny ruby or pink sapphire dangles from a diamond encrusted crown surprise, which is a replica of the Russian imperial crown made for Empress Catherine the Great in the 1700s.
The India Early Minshall Collection
This painting of European subjects by an unnamed Indian artist depicts an unidentified scene in which two merchants approach a pavilion where a seated lady receives a kneeling holy man unrolling a scroll before her. The figures wear garments associated with different periods, which increases the painting’s ambiguity. The distant cityscape in the upper left corner is a Mughal version of the type introduced into India by Jesuit missionaries who brought gifts of European paintings and engravings.
India, Mughal Dynasty (1526-1756)
Gum tempera and gold on paper
Image: 21.5 x 13.4 cm (8 7/16 x 5 1/4 in.)
Andrew R. and Martha Holden Jennings Fund
28 1/2 x 34 1/2 x 16 in. (72.4 x 87.6 x 40.6 cm)
medium: Mahogany, satinwood, sycamore, holly with oak, yellow poplar
Metropolitan Museum of Art, New York, NY 32.55.4 1932
The Sylmaris Collection, Gift of George Coe Graves, 1932
The front of this tsuba shows the yearly meeting of the celestial lovers the Weaving Maiden (Jp. "Orihime") and the Shepherd (Jp. "Hikoboshi"). They are the stars Vega and Altair. Because they neglected their work when they were together, the Weaving Maiden's father, the King of Heaven, decreed that they could only meet across the River of Heaven (i.e. the Milky Way) once a year. Their meeting is celebrated on the 7th day of the 7th month with a festival called Tanabata. They are depicted on the front of the tsuba within a square frame. The Weaving Maiden is shown at the upper right spinning thread. The Shepherd is shown with cattle on the lower left. On the reverse of the tsuba, rooftops of houses can be seen in the foreground and to the right of the central opening. Stalks of bamboo hung with paper strips decorate the houses for Tanabata. Mount Fuji is shown in the background at the upper right.
Japanese
3 1/4 in. (8.3 cm)
medium: shibuichi, copper, gold, silver
culture: Japanese
Walters Art Museum, 1931, by bequest.
This scene features a standing god in horned headdress and long robe, with one foot resting on an animal. He is holding a mace in his outstretched hand. A second deity in horned headdress and long tufted robe faces the goddess with both hands raised. In the field between them is a star cradled in a disc. The scene also incorporates a cuneiform inscription in five registers.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 1 x Diam: 7/16 in. (2.6 x 1.2 cm)
medium: hematite
culture: Babylonian
Walters Art Museum, 1941, by purchase.
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During the 1700s, the small-sword emerged as a light, quick weapon. Like the rapier it was carried by unarmored civilians, the noblemen of the upper classes. Over time this delicate sword became more an accessory of male attire than a weapon essential to life and death. The sword hilt, which shows even when the blade is sheathed, became the ground for elaborate decoration. These small-swords thus represent the final stage in the evolution of the sword, from the edged weapons of antiquity to the elegantly refined blades of the 1700s and 1800s.
France, 18th century
steel; chiseled relief decoration; blade engraved; wire grip
Overall: 97 cm (38 3/16 in.); Blade: 79.2 cm (31 3/16 in.); Grip: 13.8 cm (5 7/16 in.); Guard: 7.6 cm (3 in.)
Gift of Mr. and Mrs. John L. Severance
This painting depicts a field around the hamlet of Oele in the eastern Netherlands, where Mondrian lived during the summer of 1907. The evocative mood created by the trees silhouetted against a twilight sky suggests that Mondrian’s search for spirituality was present before he began painting completely abstract or non-objective compositions in 1916. Guided by readings in metaphysics and philosophy, Mondrian sought to achieve a higher spiritual reality in his paintings, which eventually led him to eliminate all representational elements in favor of a style of pure geometric abstraction.
Netherlands
oil on paper laid on board
Framed: 82.5 x 97 x 5.8 cm (32 1/2 x 38 3/16 x 2 5/16 in.); Unframed: 65.7 x 72 cm (25 7/8 x 28 3/8 in.)
Did you know...
Mondrian was a prolific writer drawn to spiritual studies and he believed that art and philosophy were deeply interconnected.
Gift of Frank Stella
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