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751534.txt | Bowl
Haida, Native American
ca. 1800–40
On view at The Met Fifth Avenue in
Gallery 746
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50439.txt | Sacred Thread Clasp
Indonesia (Java)
8th–early 10th century
On view at The Met Fifth Avenue in
Gallery 247
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3644.txt | Shovel
1795–1815
On view at The Met Fifth Avenue in
Gallery 725
Most often consisting of a shovel, brush, and pair of tongs, fire sets also sometimes included pokers and a stand for holding the tools. This shovel matches tongs, 10.125.589b.
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38949.txt | Bodhisattva, possibly Maitreya
Northeastern Thailand
first quarter of the 8th century
On view at The Met Fifth Avenue in
Gallery 245
This image of a standing male is difficult to identify securely, but the raised hand gesturing in exposition and the lowered hand granting boons suggests he is a Buddhist savior. He may represent Maitreya, the messianic Buddha of the Future; the headdress is perhaps intended to evoke a stupa, his identifier.
cat. no. 143
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464251.txt | Diptych with Scenes from the Lives of Jesus and Mary
French
ca. 1350
On view at The Met Fifth Avenue in
Gallery 306
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189462.txt | Table
French
late 17th century
On view at The Met Fifth Avenue in
Gallery 531
With its openwork decoration and X-shaped stretcher, this table bears a resemblance to tables recorded in a set of engraving by Pierre le Pautre (1660–1744) entitled "Livre de tables qui sont dans les apparements du roy sur lesquelles sont posée els bijoux du Cabinet des Médailles."
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211495.txt | Head of a Bearded Elder
Augustin Pajou
French
1768
On view at The Met Fifth Avenue in
Gallery 639
The precise meaning of this bristling elder remains to be determined. Suggestions for his identity have ranged from Aristotle to Moses to a retired pugilist. The work fits within the French academic tradition of modeling heads to express various passions, but which could this belligerent character personify? Barely controlled rage, perhaps, but what does the mantle connote? The ancient marbles that are most like the head in conveying crossness and contempt represent philosophers of the Cynic school, but they do not wear mantles. In the end perhaps the main subject is the model himself, no doubt an Italian; during and after his study years in Italy (1752-56), Pajou drew and modeled similar types, aged but vigorous, hirsute and ornery. Our head, carried out with canny asymmetrical adjust- ments of the clay, is the most mesmeriz- ing of these exercises. Unrecorded until it was auctioned last year in Paris, it was totally unknown to the authors of the Museum's 1998 "Augustin Pajou" exhibition but will figure in next year's "Playing with Fire: European Terracotta Models, 1740 to 1840."
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325042.txt | Bowl
Iran
ca. 9th century BCE
On view at The Met Fifth Avenue in
Gallery 202
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5235.txt | Furniture Hardware
Retailer
Henry Kellam Hancock
1820–30
On view at The Met Fifth Avenue in
Gallery 774
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562152.txt | Relief fragment, tomb of Meketre
Middle Kingdom
ca. 1981–1975 B.C.
On view at The Met Fifth Avenue in
Gallery 106
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22911.txt | Dagger with Sheath
blade, Turkish; hilt and scabbard, European, possibly Italian
blade, mid-16th century; hilt and scabbard, probably mid-16th century
On view at The Met Fifth Avenue in
Gallery 379
Near Eastern blades were valued highly in Europe, and many fine examples were exported and mounted with European hilts. In this example, the Ottoman blade has been fitted with a hilt and sheath damascened with gold arabesques of Middle Eastern inspiration. The blade is inscribed in Persian (one of the languages of the Ottoman court):
It is a dagger since it attempted [to take] the
life of the unfaithful lover.
My Turk took it [wrapped in gold] and
bound it to his sash.
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1053.txt | Butter Mold
American
ca. 1790
On view at The Met Fifth Avenue in
Gallery 774
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436271.txt | The Crucifixion with Donors and Saints Peter and Margaret of Antioch
Workshop of
Cornelis Engebrechtsz
Netherlandish
ca. 1525–30
On view at The Met Fifth Avenue in
Gallery 607
Cornelis was the leading painter in the Dutch city of Leiden in the early sixteenth century. This strikingly symmetrical Crucifixion from his workshop combines piety and dramatic energy, pushing emotional effects to an extreme. The figure of Christ is isolated against the darkened sky; his tormented, lifeless body is flanked on either side by the crucified thieves, whose forms are contorted in agony. While the mourning Virgin echoes the posture of her son, indicating her empathic suffering, Saint John gazes up in grief at Christ. The two unidentified donors, probably husband and wife, are physically close to the scene but psychologically detached from it.
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7422.txt | Shelf Clock
David Wood
American
1792–1800
On view at The Met Fifth Avenue in
Gallery 774
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8077.txt | Table
American
ca. 1800
On view at The Met Fifth Avenue in
Gallery 774
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254877.txt | Terracotta neck-amphora (jar)
Attributed to the
Antimenes Painter
ca. 520 BCE
On view at The Met Fifth Avenue in
Gallery 171
Obverse, Herakles, Athena, and Hermes.
Reverse, frontal chariot and archer.
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7344.txt | Sconce
British or Irish
1810–20
On view at The Met Fifth Avenue in
Gallery 728
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194433.txt | Ewer (Brocca)
Manufactory
Medici Porcelain Manufactory
Italian
ca. 1575–80
On view at The Met Fifth Avenue in
Gallery 503
The porcelain made at the Medici workshops in Florence was the first to be produced in Europe. Francesco I de’Medici (1541–1587) established a ceramic workshop in the 1560s with the intention of imitation Chinese blue-and-white porcelain. It took approximately ten years of experimentation before the workshop could manufacture the type of porcelain known as soft-paste. While so-called Medici porcelain lacks the ingredients that comprise hard-paste porcelain as made by the Chinese the Medici potters were able to craft a fine white ceramic body with cobalt decoration that represented an outstanding technical achievement for its time. Technically difficult and expensive to make, Medici porcelain was produced in very small quantities, and manufacture is believed to have ceased, or at least significantly diminished with the death of Francesco in 1587. Only fifty-nine pieces of Medici porcelain are known to have survive, of which one-tenth reside in the Museum's collection.
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460751.txt | Tazza
Venetian or façon de Venise, probably Tyrolean; possibly Venice
ca. 1570
On view at The Met Fifth Avenue in
Gallery 954
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471884.txt | Saint James the Greater
Gil de Siloe
Spanish
1489–93
On view at The Met Cloisters in
Gallery 16
In 1486, Isabel of Castile, patroness of the explorer Christopher Columbus, commissioned an elaborate alabaster tomb for her parents, Juan II of Castile and Isabel of Portugal. This star-shaped tomb, still standing in the center of the church of the Carthusian monastery of Miraflores, outside Burgos, was made between 1489 and 1493 by Gil de Siloe, a sculptor thought to be of Netherlandish origin. This statuette of the patron saint of Spain is known from old photographs to have been originally placed near the head of the queen. The soft, translucent quality of alabaster provides an ideal medium for the artist's penchant for beautifully articulated drapery folds and facial details, which still bear traces of gilding and paint. Saint James is portrayed here as a pilgrim: a person who makes a journey to a sacred place as a holy act. As a traveler, he is shown well equipped with a staff, purse, water gourd, and traveler's hat, whose upturned brim is adorned with a scallop shell, the emblem of his shrine at Santiago de Compostela. Medieval pilgrims would similarly place such badges on their clothing to indicate the number of holy shrines they had visited.
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1735.txt | Side Chair
Attributed to
John Henry Belter
American
or attributed to
J. H. Belter & Co.
1850–60
On view at The Met Fifth Avenue in
Gallery 739
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555098.txt | Tally stone from Hatshepsut's Valley Temple
New Kingdom
ca. 1479–1458 B.C.
On view at The Met Fifth Avenue in
Gallery 117
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437609.txt | The Holy Family with the Young Saint John the Baptist
Andrea del Sarto (Andrea d'Agnolo)
Italian
ca. 1528
On view at The Met Fifth Avenue in
Gallery 609
Andrea del Sarto was known as a meticulous draftsman. He displays this talent in the carefully choreographed gestures of these four figures, whose hands spiral around the globe that the young Saint John the Baptist passes to the Christ Child. This action is central to the meaning of the painting, which was as much a political statement as a religious one. Giovanni Borgherini commissioned the picture at a time when Florence had freed itself of Medici dominance and declared itself a republic. The young John the Baptist—patron saint of Florence—passes the orb to Christ, indicating him, not the Medici, as sole ruler of the city.
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469013.txt | Gold Appliqué in the Form of a Cross
Langobardic
ca. 600
On view at The Met Fifth Avenue in
Gallery 301
Once they were in Italy, the Langobards adopted the custom of sewing one or more crosses on the shrouds of the deceased. The origin and meaning of the custom remain uncertain.
This group of objects was found in the grave of a Langobardic horseman, who was buried in his warrior dress, with weapons, shield, helmet, and the fittings for his horse. What remains are the many gold pieces that would have ornamented his clothing and equipment, and they attest to the great wealth of the Langobardic aristocracy within a generation of settling in Italy.
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9369.txt | Vase
Ott and Brewer
American
1880–90
On view at The Met Fifth Avenue in
Gallery 774
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248286.txt | Terracotta skyphos (drinking cup with two handles)
Greek, Attic
ca. 750–735 BCE
On view at The Met Fifth Avenue in
Gallery 151
The skyphos (drinking cup) belongs to a group of eight terracotta vases (10.210.1-.8) that are said to be from Athens. Despite the absence of archaeological record, they were probably found together in a tomb. Such groups are well attested in excavated burials. Moreover, the iconography of the two neck-amphorae, particularly the one with the mourning women on the neck, is appropriate for a funerary purpose. The group displays stylistic changes that occurred from about 730-700 BCE, a time of artistic innovation that resulted in the end of the formal precision of the Geometric style and the rise of the exuberant Protoattic style.
The skyphos is one of the earliest pieces of the group, as indicated by the strictly geometric painted decoration. The gadrooned decoration―with its oblong motifs rendered both by the painted pattern and the shallow relief impressed around the wall ―recalls more expensive prototypes in metal.
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51041.txt | Bottle vase
China
Qing dynasty (1644–1911), Qianlong mark and period (1736–95)
On view at The Met Fifth Avenue in
Gallery 219
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569761.txt | Scarab
New Kingdom, Ramesside
ca. 1295–1070 B.C.
On view at The Met Fifth Avenue in
Gallery 122
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61182.txt | Part of a steamer (Zeng)
China
late 9th–early 8th century BCE
On view at The Met Fifth Avenue in
Gallery 207
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472355.txt | Column Base
French
late 12th century
On view at The Met Cloisters in
Gallery 03
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548977.txt | Scarab
New Kingdom
ca. 1492–1473 B.C.
On view at The Met Fifth Avenue in
Gallery 116
This scarab was found with twenty-three other scarabs and seal-amulets in the coffin of a young woman who was buried in Hatnefer's tomb (see 36.3.1 and 36.3 26). The base is inscribed with a decorative pattern resembling a winged-sphinx.
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189304.txt | Figure group symbolic of Astronomy
French
ca. 1775
On view at The Met Fifth Avenue in
Gallery 545
This sculptural group symbolizes Astronomy. A celestial sphere surmounted by an eagle with outstretched wings is flanked by two winged and kneeling putti as well as a floral garland. Its pair (07.225.14b) symbolizes Geography.
This anonymous carving bears resemblance to drawings by Ange-Jacques Gabriel (1698-1782), the principal architect of Louis XV who was responsible for the Petit Trianon, the opera theatre at Versailles and many modifications at the palace. In May of 1774, Gabriel supplied drawings for a library at Versailles for Louis XV’s grandson who had succeeded him as Louis XVI that same month. These drawings show closely related compositions symbolizing Geography and Astronomy (but without the crowning birds) intended as over doors above the double doors in the room. Although the designs were rejected by the new king, it is possible that the sculptural groups had already been made or were executed after all. The cock, an allusion to France, and eagle, the emblem of Austria, probably refer to the union of Louis XVI and his Austrian wife, Marie-Antoinette. Traces of paint indicate that these carvings have been stripped of their original surface decoration.
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207591.txt | Self-Portrait
Alexandre-Louis-Marie Charpentier
French
1902
On view at The Met Fifth Avenue in
Gallery 556
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3122.txt | Demitasse Cup and Saucer
Union Porcelain Works
American
1885–87
On view at The Met Fifth Avenue in
Gallery 774
Union Porcelain Works was one of the most important and inventive American porcelain manufacturers in the second-half of the nineteenth century. In addition to their imaginative works designed by the German-born artistic director, Karl H. L. Müller, the firm’s mainstay was the production of heavy porcelain hotel dinnerware. This extensive service was made by Thomas Carll Smith, head of the Union Porcelain Works, as a gift to his daughter, Pastora Forest Smith Chace. The neoclassical decoration of the gilt bellflower and basket motif is complimented by turquoise enamel. Unlike the firm’s more eccentric and lavish designs created for their display at the Philadelphia Centennial Exposition in 1876, the pottery favored a more restrained classical style for their dinner services. This service descended in the Chace family.
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464537.txt | Medallion with Christ
Byzantine
11th century
On view at The Met Fifth Avenue in
Gallery 300
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248292.txt | Terracotta neck-amphora
Greek, Attic
ca. 710 BCE
On view at The Met Fifth Avenue in
Gallery 151
The iconography of this vase is emphatically martial. On the neck, a warrior appears between two horses; on the body is a procession of chariots. Armed warriors, chariots, and horses are the most familiar iconography of the Geometric period. Whether these images reflect a real world of military threat and conflict, or refer to the heroic deeds of ancestors, is a longstanding debate in studies of Geometric art.The painted decoration is enhanced by snakes added in clay. Snakes are traditionally associated with death because they can burrow under the ground and periodically shed their skin, a sign of renewal.
This neck-amphora belongs to a group of eight terracotta vases (10.210.1-.8) that are said to be from Athens. Despite the absence of archaeological record, they were probably found together in a tomb. Such groups are well attested in excavated burials. Moreover, the iconography of the two neck-amphorae, particularly the one with the mourning women on the neck, is appropriate for a funerary purpose. The group displays stylistic changes that occurred from about 730-700 BCE, a time of artistic innovation that resulted in the end of the formal precision of the Geometric style and the rise of the exuberant Protoattic style.
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698734.txt | Amphoriskos (oil flask)
Greek, South Italian, Apulian, Gnathian
ca. 340–320 BCE
On view at The Met Fifth Avenue in
Gallery 161
These two flasks, 2015.641 and 2015.642, undoubtedly for oil, have been known since the early 1880's, when they were purchased by the noted British archaeologist Augustus Henry Lane Fox Pitt-Rivers. They remained with his descendants until 1992. Documentation indicates that they were found together at Capua, a major center in the Italian region of Campania. However, the technique of decoration, in which color is applied onto the vase, points to neighboring Apulia as the place of production. The simple motifs are adapted with exceptional sureness to the irregular surfaces of the respective shapes. Under the spout, the askos additionally shows a suspended theatrical mask between ribbons and ivy leaves, popular details associated with the wine god, Dionysos.
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548963.txt | Cowroid Set in a Ring Bezel
New Kingdom
ca. 1492–1473 B.C.
On view at The Met Fifth Avenue in
Gallery 116
This ring bezel contains a cowrie-shaped amulet. The heraldic design inscribed on its base includes an ankh hieroglyph (life) protected by a falcon with outspread wings. Two bezels were found among the hand bones of an unidentified children who was buried in the tomb of Hatnefer (see 36.3.1 and 36.3.14)).
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576655.txt | Vessel fragment
New Kingdom
ca. 1390–1352 B.C.
On view at The Met Fifth Avenue in
Gallery 120
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472341.txt | One of Two Doors with Ironwork
French or Spanish
12th century
On view at The Met Cloisters in
Gallery 04
Worked into the iron strapwork is a representation of Christ on the Cross, set against a wheel pattern and with geometric and leaf-form patterns and horses’ heads with stylized manes.
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2228.txt | Compote
Bryce Brothers
American
1876–85
On view at The Met Fifth Avenue in
Gallery 774
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464523.txt | Fragment with a Leaf Motif
Byzantine
10th century
On view at The Met Fifth Avenue in
Gallery 300
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544181.txt | Statue of the Overseer of Stonemasons Senbebu and Family
Middle Kingdom
ca. 1981–1802 B.C.
On view at The Met Fifth Avenue in
Gallery 106
Senbebu, the central figure of this group, was an overseer of stonemasons, a title indicating that he supervised quarrying and/or stonecutting, professions also held by his father and son. Abetib on the left was likely Senbebu’s wife, while Peryt on the right was either another wife or perhaps a sister-in-law. During the Middle Kingdom, mid-level officials such as Senbebu were increasingly able to commission commemorative monuments of respectable quality.
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477239.txt | Ring Brooch
German
ca. 1340–49
On view at The Met Cloisters in
Gallery 14
This brooch comes from a treasure unearthed in 1969 on a farm near Lingenfeld, in the Rhineland, about sixty miles north of Strasbourg. Set inside a terracotta vessel were silver objects, including a double cup and a letter-shaped jewel similar to ones in The Cloisters Collection (1983.125a, b; 1986.386), as well as gilded silver rings. The coins in the hoard date to the time of the Plague, which struck Europe with devastating ferocity in 1348. It is estimated that one third of the entire population of Europe died from the pandemic. Princes and paupers, Christians, Jews and Muslims all succumbed to the Plague. Compounding the horror, Jewish communities in the Rhineland were scapegoated and put to death by their Christian neighbors. Did this treasure, like other jewelry from this same period found in the region, belong to a Jewish citizen fleeing persecution, or was it buried for safekeeping by someone who fell victim to the Black Death?
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471890.txt | Grisaille Panel
French
ca. 1265
On view at The Met Cloisters in
Gallery 08
These grisaille panels are part of a set of eight from a window in one of three chapels at the Norman residence of the French monarchs. They represent a mid-century transitional stage in royal French ateliers. The conventionalized acanthus buds are a continuation of earlier tastes, while the ivy leaves, delineated with hair-thin veins, reflect the newer, naturalizing tendencies. The castles in the border are devices of the kingdom of Castile and indicate royal patronage, probably that of Louis IX (1226-1272), who claimed the right to the Spanish throne through his mother, Blanche of Castile.
See 69.236.2–.9.
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460745.txt | Plate
Italian (Venice)
late 17th or early 18th century
On view at The Met Fifth Avenue in
Gallery 954
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194427.txt | Tiles with the devices of Claude d'Urfé
Masséot Abaquesne
French
ca. 1557–60
On view at The Met Fifth Avenue in
Gallery 502
Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe.
While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved by the addition of tin oxide to the glaze. French faience is typically divided into two types. Grand feu (high fire) describes pieces that have been decorated with glaze and metallic oxides before being fired a single time at a high temperature of around 1650°F (900°C). Petit feu (low-fire) faience, developed in the second half of the eighteenth century, refers to a process whereby the clay body is fired before being glazed and decorated with metallic oxides and then fired again at a lower temperature; pieces can also go through a third firing. Grand feu pieces have a more limited color palette that consists of blue, yellow, brown-purple, and green. By contrast, the lower firing temperature of petit feu faience enabled both greater precision in painting techniques and variety in the range of colors.
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193348.txt | The Savigny Arms
Valentin Bousch
French
1533
On view at The Met Fifth Avenue in
Gallery 502
This window comes from a series of seven windows made for the choir of the Benedictine priory church of Saint-Firmin in Flavigny-sur-Moselle in the Lorraine region of France. The windows had been commissioned by the prior, Wary de Lucy (1510–1557) from Valentin Bousch, a glass painter in Metz who had already worked on a number of important projects including Metz cathedral. Bousch was occupied by the Flavigny-sur-Moselle project in the early 1530s. Three of the extant monumental windows from the series each bear a date (1531, 1532 and 1533). Bousch was one of the most significant master glaziers in north-eastern France in the sixteenth century and has long been recognized as an important participant in the stylistic and technical developments of the Northern Renaissance.
Together, the windows presented a Biblical narrative reflecting the story of humanity, starting with the Creation and Fall of Man (until recently in a private collection, Langley, British Columbia), then consecutively depicting the Deluge (MMA 17.40.2a–r), Moses presenting the tablets of Law (MMA 17.40.1a–r), the Nativity or Annunciation at the east end (lost), the Crucifixion (Saint Joseph's church, Stockbridge, Mass.), the Resurrection or the Supper at Emmaus (lost) and, finally, the Last Judgement (lost).
This medallion, together with the medallions of Isaiah (MMA 17.40.3), Moses (MMA 17.40.4) and the Craincourt arms (MMA 17.40.5), was originally part of the window from the set depicting the Creation and Fall of Man (now in a private collection, Langley, British Columbia), inscribed with the date 1533; a drawing in Nancy, Bibliothèque municipale (Fonds Abel, carton 152), records the complete window intact in the priory church of Saint-Firmin before it was sold.
In these windows, Valentin Bousch rejected traditional compartmentalization, instead treating each composition like an enormous painted or carved retable, with trompe l'œil architectural frames. Brilliant hues of colored glass are combined with painted areas of grisaille and silver-stain on clear glass. The windows provide an early example of daring virtuoso glass-cutting to achieve sharp and sinuous contours. As a group, the windows are remarkable because of their nuanced modeling, their vitality of composition, lifelike features and the contrast of exquisite landscape details (like those in the Moses window) with dramatic dynamism (most skilful in the Deluge window).
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466334.txt | Capital with the Temptation of Jesus
North French
ca. 1175–1200
On view at The Met Fifth Avenue in
Gallery 304
Probably originating from a cloister arcade, this capital depicts the temptations of Jesus. The narrative order is not sequential: the Devil tempts Jesus to change stones into bread; the Devil tempts Jesus with the kingdoms of the world; the Devil carries Jesus on his back to the top of the Temple; the Devil tempts Jesus to cast himself from the top of the Temple. The naturalism of the capital’s forms, the antique character of the fluid drapery defining the anatomy of the figures, and the lively narrative quality of the presentation are all hallmarks of the emerging Gothic style.
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1721.txt | Side Chair
American
1770–90
On view at The Met Fifth Avenue in
Gallery 718
This richly carved Gothic-splat New York chair is part of a set or sets of chairs that descended in the Verplanck family of New York. In addition, the museum owns an armchair and six other side chairs (see 40.137.1; 62.250.1–.3; 63.22.1-.2; 1984.287 for set). All of the chairs exhibit close similarities and may have been made in one shop, although close examination reveals splats from two different templates, carving by two different hands, and the incised marks of two separate sets. The carving of crest rail and splat on this chair matches that on the armchair and four of the side chairs (1984.287, 62.250.1–.3, and 63.22.1). The seat has been reupholstered in a reproduction of fabric that descended in the Verplanck family.
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14509.txt | Underplate
Chinese, for American market
ca. 1786
On view at The Met Fifth Avenue in
Gallery 731
In 1786 the Salem, Massachusetts, merchant Elias Hasket Derby financed the voyage of the Grand Turk, one of the first to follow that of the Empress of China. He ordered a 272-piece dinner service for himself, possibly including this tureen, which bears his crest.
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855363.txt | Nuremberg church-warden Hieronymus Paumgartner (1497–1565)
Joachim Deschler
German
1553
On view at The Met Fifth Avenue in
Gallery 520
This rare bronze medal by Joachim Deschler (German, active 1540–1569) shows the affluent Hieronymus Paumgartner (1497–1556) who held important offices in the Imperial City of Nuremberg. The medal is dated 1553, the year he was appointed town’s chief counselor. The concentration on the likeness of the human individual was an essential part of Northern European Humanism. Such portrait medals were made across Europe as tokens of identity, to be exchanged among friends or distributed by powerful rulers to the most affluent of their subjects.
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6728.txt | Portable Desk-on-frame Table
American
1800–1810
On view at The Met Fifth Avenue in
Gallery 774
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552085.txt | String of 12 Eye Beads
Late Period–Ptolemaic Period
6th–3rd century BC
On view at The Met Fifth Avenue in
Gallery 134
Mosaic glass beads had long been popular in Egypt. The period of large intercontinental empires beginning about 500 BC initiated a period of widespread trade of these small items. These are all modern stringings; most ancient stringing patterns are lost as the string decays.
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1047.txt | Bureau table
Attributed to
John Townsend
American
ca. 1765
On view at The Met Fifth Avenue in
Gallery 774
In eighteenth-century Newport, a thriving seaport ninety miles south of Boston, local cabinetmakers produced some of the most creative and uniquely American of all colonial furniture. One of their innovations was the introduction of carved, lobed shells to terminate the projecting or receding blocking on the fronts of chests and desks. On this example, a bureau table or kneehole chest, there are four shells in the distinctively elegant and crisp style of the master craftsman John Townsend.
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562146.txt | Relief fragment, tomb of Meketre
Middle Kingdom
ca. 1981–1975 B.C.
On view at The Met Fifth Avenue in
Gallery 106
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22905.txt | Armor
German, possibly Brunswick
ca. 1535
On view at The Met Fifth Avenue in
Gallery 371
This is a fine late example of a fluted armor, made shortly before the style went out of fashion. It is distinguished for its unusually large proportions and impressive height. The bands of scales and the distinctive roping of the lower edge of the associated helmet (acc. no. 38.128.1) and the top edge of the breastplate are features frequently found on armors from northern Germany (possibly Brunswick), a region generally not known for producing fluted armors. The leg defenses are of the same period but originally did not belong with the rest of the armor.
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13500.txt | Eva Rohr
Augustus Saint-Gaudens
American
1872
On view at The Met Fifth Avenue in
Gallery 774
The American singer Eva Rohr was studying opera in Rome when Saint-Gaudens depicted her playing the part of Marguerite in Charles Gounod’s opera Faust. The character was associated with innocence and purity – themes reinforced by her demure downward gaze and the crucifix around her neck. The inscription on the Gothic-style pedestal is an English translation of Marguerite’s first words to Faust, in which she chastely rebukes her impassioned suitor’s offer to accompany her home.
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7436.txt | Shilling
John Hull
American
Robert Sanderson Sr.
ca. 1667–ca. 1682
On view at The Met Fifth Avenue in
Gallery 750
In 1652 John Hull and Robert Sanderson were appointed mint masters for the Massachusetts Bay Colony. Established in response to a chronic shortage of hard currency and the need for a reliable and efficient medium of exchange, the mint was operated by Hull and Sanderson for thirty years. During that period, it produced coins of various denominations and designs, ranging from a simple NE (for "New England") to a willow, oak, or pine tree encircled by beading; virtually all examples, however, were dated 1652.
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550692.txt | Box
New Kingdom, Ramesside
ca. 1295–1070 B.C.
On view at The Met Fifth Avenue in
Gallery 122
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11317.txt | October in the Marshes
John Frederick Kensett
American
1872
On view at The Met Fifth Avenue in
Gallery 774
In 1874 Thomas Kensett presented the Museum with thirty-eight paintings found in the studio of his brother, John Frederick Kensett, after he died. Since the artist had executed most of them in the summer of 1872, just prior to his death in December, the paintings are known collectively as his “Last Summer’s Work." This is one of numerous studies Kensett made of the meadow and salt marshes near Contentment Island, Connecticut, during the fall of that year.
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249832.txt | Glass amphoriskos (perfume bottle)
Greek, Eastern Mediterranean
3rd–2nd century BCE
On view at The Met Fifth Avenue in
Gallery 158
Translucent cobalt blue with same color handles and base-knob; trails in opaque yellow and opaque white.
Uneven horizontal rim-disk with rounded edge; tall cylindrical neck; sloping shoulder; small ovoid body; large coiled base-knob applied to pointed bottom; two vertical strap handles applied to top of body in pads, drawn up and slightly outward, then turned in and attached to top of neck and underside of rim-disk.
A yellow trail attached at edge of rim-disk and wound spirally over neck and shoulder, tooled into a narrow zigzag band with close-set vertical indents around top of body, then wound spirally down body in five turns, ending underneath base-knob; a white trail is added on neck and wound spirally, mingling with the yellow trail to lower part of body.
Intact; most of white trail completely weathered, leaving only a linear impression in body; dulling, pitting, and iridescent weathering.
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10009.txt | Work Table
F. J. Henkel
American
ca. 1860
On view at The Met Fifth Avenue in
Gallery 774
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5221.txt | Table Model
1770–1800
On view at The Met Fifth Avenue in
Gallery 774
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256912.txt | Terracotta vase in the form of a phallus
Greek
ca. 550–500 BCE
On view at The Met Fifth Avenue in
Gallery 154
Phallus vases are a rare and distinctive feature of Archaic Greek pottery. They were used to store perfumed oils, presumably of an erotic or medicinal nature. This vase is the product of an East Greek workshop, probably on Rhodes. Archaic Greek potters fashioned sculptural vases in a wide variety of shapes, including human heads, legs, and animals. This particular class reflects an element of playfulness recurrent throughout Greek art.
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326577.txt | Openwork rattle bell
ca. early 1st millennium BCE
On view at The Met Fifth Avenue in
Gallery 684
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6700.txt | Porringer
David Melville
American
1788
On view at The Met Fifth Avenue in
Gallery 774
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14247.txt | Drapery Tieback
1810–60
On view at The Met Fifth Avenue in
Gallery 774
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575412.txt | Conical Loaf of Bread
New Kingdom
ca. 1479–1458 B.C.
On view at The Met Fifth Avenue in
Gallery 116
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437153.txt | Oedipus and the Sphinx
Gustave Moreau
French
1864
On view at The Met Fifth Avenue in
Gallery 800
The legendary Greek prince Oedipus confronts the malevolent Sphinx, who torments travelers with a riddle: What creature walks on four legs in the morning, two legs at noon, and three legs in the evening? Remains of victims who answered incorrectly litter the foreground. (The solution is the human, who crawls as a baby, strides upright in maturity, and uses a cane in old age.) Moreau made his mark with this painting at the Paris Salon of 1864. Despite the growing prominence of depictions of everyday life, he portrayed biblical, mythological, and imagined stories. His otherworldly imagery inspired many younger artists and writers, including Odilon Redon and Oscar Wilde.
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13528.txt | Vase
Decorator
Faience Manufacturing Company
American
1886–90
On view at The Met Fifth Avenue in
Gallery 774
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192718.txt | Portrait of a Youth
Italian, probably Rome
late 15th century
On view at The Met Fifth Avenue in
Gallery 602
The subject and author of this sensitive portrait have yet to be identified. When it belonged to the Borghese family in Rome in the later nineteenth century, it was thought to be by the Florentine sculptor Benedetto da Rovezzano.
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42001.txt | Covered bowl with ring handles
China
18th–19th century
On view at The Met Fifth Avenue in
Gallery 222
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544817.txt | Ax head with cynocephalus
First Intermediate Period–Middle Kingdom
ca. 2100–1650 B.C.
On view at The Met Fifth Avenue in
Gallery 109
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193406.txt | Watch
Watchmaker:
Grayhurst, Harvey & Co.
Casemaker: possibly
Louis Comtesse
French
1819–20
On view at The Met Fifth Avenue in
Gallery 554
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568325.txt | Sickle Insert
New Kingdom, Ramesside
ca. 1186–1070 B.C.
On view at The Met Fifth Avenue in
Gallery 122
This small piece of flint was a key element to a successful agricultural season in ancient Egypt. Grain was a staple of the economy, as bread and beer made from grain were consumed daily. They also formed the foundation of eternal sustenance, as funerary offerings. Ancient Egyptians used sickles made from flint and wood to reap grain. Pieces of flint such as this one were shaped to fit into a wooden haft along with a number of other such inserts, and secured with an adhesive. The flint pieces provided a sharp edge to cut the grain stalks. With use, the flint would wear down and develop a shiny gloss. The flint inserts could be re-sharpened or replaced as needed.
Sickle inserts could be made in a variety of ways. The earliest were fully bifacially retouched, then later they were made on blades (long narrow pieces of flint). Starting in the 2nd millennium BC, some sickle inserts were made on large flakes, such as this one.
Flint, rather than copper alloy, was the primary material used to make sickles in Egypt until the first millennium B.C. when iron became more widely available. The reason for using flint was probably multifaceted and included considerations such as its abundance, its ease of manufacture compared to casting metal tools, flint’s proficiency at cutting grain, and the relationships between the people who made flint tools and the people who used them.
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4117.txt | Goblet
Bakewell, Pears and Company
American
1850–70
On view at The Met Fifth Avenue in
Gallery 774
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19763.txt | Pier Table
Charles-Honoré Lannuier
American
1815–19
On view at The Met Fifth Avenue in
Gallery 726
This pier table blends French neoclassical furniture design with American traditions in its exquisitely carved caryatids and gilt-brass mounts. Lannuier was a talented, Parisian-trained ebenisté (cabinetmaker) who migrated to New York and found patronage among the American elite and French exiles fleeing the Revolution. Lannuier crafted this pier table, and its companion in a private collection, for Jacques-Donatien Leray de Chaumont (1760—1840), the scion of a wealthy, titled family of merchants, for use in his mansion along the Black River near Watertown, New York.
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201862.txt | Paris
Antico (Pier Jacopo Alari Bonacolsi)
Italian
ca. 1518–1524
On view at The Met Fifth Avenue in
Gallery 536
In a legendary contest over divine beauty the Trojan prince, Paris judged Venus the winner. Paris is shown contemplating his choice as he holds the golden apple to be awarded to the goddess as her trophy. The figure’s immaculate nudity, gilded hair, and silver eyes vividly evoke the splendor of classical bronze statuettes.
The creator of this work was called Antico ("One of the ancients") by his Renaissance contemporaries in recognition of his ability to rival the sculptures of antiquity.
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247837.txt | Terracotta rim fragment with hatched triangle
Minoan
ca. 2300–2100 BCE
On view at The Met Fifth Avenue in
Gallery 171
From Gournia, Crete
Rim fragment with hatched spiral.
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435744.txt | Virgin and Child with the Young Saint John the Baptist and Angels
François Boucher
French
1765
On view at The Met Fifth Avenue in
Gallery 631
Boucher’s skill as a history painter is evident in this intimate, meticulously painted devotional image that might at first be mistaken for a pastoral subject. It subtly integrates a casually arranged bunch of grapes symbolizing the Eucharist with a lamb, the attribute of John the Baptist, who is envisaged as a little boy draped in an animal skin. The infant Christ’s penetrating gaze, framed by a brilliant aureole of light, lends the painting solemnity and focus. This painting was executed in 1765, the year Boucher rose to directorship of the French Royal Academy.
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644111.txt | Vase with scenes of storm on land
Manufacturer
Dihl et Guérhard
French
Possibly painted by
Jean-Baptiste Coste
French
ca. 1797–98
On view at The Met Fifth Avenue in
Gallery 553
In the closing decades of the eighteenth century, a number of porcelain factories were established in Paris that offered both commercial and artistic competition to the Sèvres factory, despite the latter’s royal status and the patronage of its products as encouraged by Louis XVI (1754–1793), king of France. Many of these newly founded factories had royal protectors who allowed them to operate regardless of the monopoly that Sèvres continued to enjoy, and the majority of the Paris enterprises focused solely on the production of hard-paste porcelain. One of the most successful of these factories was first known by the name of its protector, Louis-Antoine d’Artois (French, 1775–1844), duc d’Angoulême (Manufacture de Monsieur Le Duc d’Angoulême), and later known as the Dihl et Guérhard factory at the time of the French Revolution (1789–99).
The factory was founded in 1781 by Christophe Dihl (German, 1753–1830), a potter from Neustadt, in collaboration with Antoine Guérhard (French, d. 1793), who, along with his wife Louise-Françoise-Madeleine Croizé (French, 1751–1831), provided the funds and assumed the administrative responsibilities for the new firm.[1] Critically, the factory was able to acquire the patronage of the duc d’Angoulême despite the fact that he was only five at the time that his protection of the factory was granted. By 1785, the factory was sufficiently successful to be able to employ thirty painters and twelve sculptors,[2] and it soon outgrew its original quarters on the rue de Bondy and moved to new premises on the rue du Temple in 1789. Dihl’s technological expertise must have been considerable, because the quality of the factory’s products was unusually high, and the level of decoration practiced by the factory’s painters made its wares among the finest of any of the Parisian firms. The factory became known for its skill in painting grounds in imitation of a variety of hardstones, and Dihl was particularly interested in developing improved enamel colors, eventually presenting his experiments and research to the Académie des Sciences et des Beaux- Arts, Paris, in 1797. A well-known porcelain plaque painted with Dihl’s portrait from the same year reflects his various ceramic priorities, including a palette of colors, materials for making porcelain, and several pieces of porcelain that represent some of the factory’s achievements.[3] Dihl et Guérhard had already developed a distinguished clientele by this time, and the American diplomat Gouverneur Morris (1752–1816) made repeated visits to the factory in the years 1789–93, often acting on behalf of President George Washington (1732–1799) and noting that “We find that the porcelain here is more elegant and cheaper than it is at Sèvres.”[4] Dihl appears to have been a skillful entrepreneur as well, as evidenced by his negotiations with the London merchant Thomas Flight (British, 1726–1800) to sell the factory’s porcelains in England for a six-year period beginning in 1789.[5]
Both the technical quality and artistic innovation that characterize the best of Dihl et Guérhard’s production are evident in the Museum’s vases.[6] They are decorated with a ground of brilliant yellow, one of the colors that Dihl learned to fire successfully on hard paste, which often proved challenging in regard to ground colors. The yellow sections of each vase are decorated in black enamel with delicately rendered scrolls, peacocks, garlands of flowers, and, most prominently, with female terms, or half-length figures, alternating with birds resting in baskets of flowers.[7] This type of decoration is commonly known as “grotesque,” a reference to motifs painted in ancient Roman grottoes, which were rediscovered during the Renaissance. Grotesque decoration became popular again in late eighteenth- century France, where it was employed in either painted or carved form in fashionable interior architecture.
The most startling aspect of the vases’ decoration, however, is the uninterrupted landscape encircling each vase. Painted in grisaille, or monochrome gray, both scenes depict storms: one on land and one at sea. The continuous nature of each scene allows for small vignettes that illustrate the various effects of each storm; the common element to both is the harsh impact on the small human figures exposed to the turbulent weather. The painter of the two vases has captured in great detail the atmospheric effects of the howling wind, driving rain, and crashing waves, while also conveying the battering experienced by the figures attempting to move through the tempestuous landscapes.
Storms were a popular subject in late eighteenth-century landscape painting, especially as the concept of the Sublime or the awareness of powerful natural forces beyond man’s control was increasingly embraced by the educated classes at this time. Land or seascapes depicting natural disasters and the immensity of nature compared to man were a common choice of subject for artists, but such paintings were often paired with a work representing the calm before or after a storm, continuing a centuries- long tradition of illustrating nature in both its benign and hostile aspect. The fact that the Dihl et Guérhard factory chose to pair a storm at sea with a storm on land raises the possibility that a specific meaning was intended by this unusual selection, especially given the rarity of this subject matter on porcelain.
It is conceivable that these two stormy scenes can be interpreted as reflections of the political turmoil enveloping France in the late 1790s. King Louis XVI and Queen Marie- Antoinette (1755–1793) had been guillotined in 1793; the Reign of Terror had paralyzed the country from 1793 to 1794; and under the Directoire (1795–99), the country’s finances were in total disarray, religious institutions were under attack, and political tides were constantly shifting. It is plausible that the depiction of a turbulent and harsh natural world, where men and women are buffeted by forces outside of their control, is a statement about the extreme instability of the political and social climate in which the vases were produced. The factory’s location in close proximity to the Temple, where the royal family had been imprisoned before being executed, may have influenced the perception of perva-sive insecurity and volatility.
Even if this possible interpretation cannot be substanti-ated, the pair of vases reflects a level of quality and innovation that was unsurpassed at this time. Dihl et Guérhard employed some of the finest porcelain painters working in France during this period, and due to the success of its export business, the factory was able to pursue new forms of decoration and create new models while other ceramic enterprises, including Sèvres, were striving to remain solvent. Dihl et Guérhard’s standing among the French porcelain manufacturers is best reflected by a letter written in 1800 on behalf of the Spanish Queen Maria Luisa (1751–1819), indicating her interest in patronizing the factory rather than Sèvres, because the porce-lain “would be in a taste more modern and more pure.”[8]
Footnotes
(For key to shortened references see bibliography in Munger, European Porcelain in the Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2018)
1 For a history of the factory, see Plinval de Guillebon 1972, pp. 200–207; Plinval de Guillebon 1988; Dawson 1994, pp. 356–58; Plinval de Guillebon 1995, pp. 142–51, 352–57.
2 Dawson 1994, p. 358.
3 Plinval de Guillebon 1995, fig. 63.
4 Plinval de Guillebon 1972, p. 300.
5 Anderson 2000, pp. 99–100; Plinval de Guillebon 1995, p. 117.
6 Neither vase is marked, but the pair is attributed to Dihl et Guérhard on the basis of stylistic similarity to a pair of marked vases in the Onslow Collection, Clandon Park, Surrey, England; Ferguson 2016, pp. 174–75.
7 Similar grotesque decoration is found on a Dihl et Guérhard vase in the Victoria and Albert Museum, London (309:1, 2- 1876), and on the pair of vases in Clandon Park (see note 6).
8 Plinval de Guillebon 1992, p. 133.
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10021.txt | Writing Table
American
1760–85
On view at The Met Fifth Avenue in
Gallery 752
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5209.txt | Curtain knob
probably American
1700–1900
On view at The Met Fifth Avenue in
Gallery 774
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247189.txt | Terracotta lekane (dish)
Greek, Boeotian
ca. 550–540 BCE
On view at The Met Fifth Avenue in
Gallery 171
Interior, dolphin
Exterior, animal frieze
Interior, dolphin; exterior, frieze of animals.
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236770.txt | Brooch
Carlo Giuliano
Italian
and
Arthur Giuliano
Italian
before 1896
On view at The Met Fifth Avenue in
Gallery 556
This object and the group to which it belongs (see also 2014.713.1–.10) reflect the keen interest in historical styles in nineteenth-century Europe. Artists and designers looked to various artistic periods for forms and motifs. There was also an interest in reproducing works of art from earlier epochs with historical accuracy—an approach that is particularly evident in the taste for so-called archaeological jewelry (jewelry based on excavated examples from antiquity), which reached its zenith in the middle of the century.
The jewelry made during this period encompassed Etruscan, ancient Roman, early Christian, Byzantine, and medieval styles. The firm of Castellani in Rome both pioneered and dominated the production of archaeological jewelry. Founded by Fortunato Pio Castellani in 1814, the company was run by three generations of the family before closing in 1927. Castellani jewelry achieved enormous popularity in the highest circles of European society, and its success encouraged many jewelers to work in a similar hisotiricizing vein, including Carlo Giuliano and his son Arthur, who established a successful firm in London in the last quarter of the nineteenth century.
The fashion for works of art that evoked antiquity ensured the popularity of cameos. Carved from hardstones such as onyx, sardonyx, and agate, cameos depicting subjects from ancient Greece or Rome or portraits executed in silhouette were often mounted in gold as jewelry. The most proficient cameo carvers, such as Benedetto Pistrucci and Luigi Saulini, produced works of remarkable technical skill. Their cameos were set in specially designed mounts by jewelers such as the Castellani, resulting in some of the finest decorative works of art of the nineteenth century.
[Jeffrey H. Munger, 2010]
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444803.txt | Vase with Landscape Vignette
19th century
On view at The Met Fifth Avenue in
Gallery 461
This vase is typical of the objects that were displayed in open niches in reception rooms of Ottoman-period upper-class Syrian homes
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2200.txt | Compote
19th century
On view at The Met Fifth Avenue in
Gallery 774
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472369.txt | Column Shaft
European or American (?)
20th century
On view at The Met Cloisters in
Gallery 03
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251933.txt | Terracotta Nolan neck-amphora (jar)
Attributed to the
Achilles Painter
ca. 470–460 BCE
On view at The Met Fifth Avenue in
Gallery 159
Obverse, Eos (the goddess of the dawn) pursuing Tithonos
Reverse, bearded man
The winged goddess Eos will capture Tithonos, a young Trojan prince, as he goes to school in the early morning and take him to Mount Olympos to be her lover.
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546966.txt | Large Ball bead
Second Intermediate Period–Early New Kingdom
ca. 1635–1458 B.C.
On view at The Met Fifth Avenue in
Gallery 114
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718108.txt | Vase with daffodils
Designed by
Artus Van Briggle
American
Manufacturer
Van Briggle Pottery Company
American
1902
On view at The Met Fifth Avenue in
Gallery 774
Artus Van Briggle began his career in ceramics at the Rookwood Pottery, but because of respiratory issues, moved to Colorado, where, with his wife Anna Van Briggle, he established his own pottery in Colorado Springs in 1901. The Van Briggles and some other designers produced models from which molds were made, and the vases were then slip-cast in multiple forms. They were particularly noteworthy for their glazes in satiny soft textures in unusual colors, sometimes one or more combine on a single piece. Like many American artists, Artus Van Briggle had traveled to and studied in Paris in the late 1890s and was much influenced by not only the artistic ceramics he saw there, but much of the French art that was on exhibition. Van Briggle’s early work often exhibits the stylistic characteristics of the Art Nouveau, especially in the sinuous curves of the stems on his floral-decorative vases. As seen in this vase, he kept the botanic identity of the daffodil, but emphasized a sense of organic vitality in the whiplash curves of the stems.
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548793.txt | Ointment Jar
New Kingdom
ca. 1479–1458 B.C.
On view at The Met Fifth Avenue in
Gallery 116
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4671.txt | Ladle
Roe and Stollenwerck
American
1800–1830
On view at The Met Fifth Avenue in
Gallery 774
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902207.txt | Jar with Thistle
Kondō Yūzō
Japanese
ca. 1950
On view at The Met Fifth Avenue in
Gallery 231
Kondō Yūzō found inspiration in the rich ceramic traditions surrounding Kiyomizu Temple, in his birthplace of Kyoto. He studied first with Hamada Shōji (1894–1978), a leading figure of the mingei (folk art) movement, and then with Tomimoto Kenkichi (1886–1963) at the Kyoto Fine Arts College. The thistle on this jar exemplifies the artist’s painterly, large-scale decorations, which revitalized the genre of blue-and-white porcelain. He was designated a Living National Treasure in 1977.
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559846.txt | Cowroid Inscribed Lord of the Two Lands Maatkare (Hatshepsut), Living
New Kingdom
ca. 1479–1458 B.C.
On view at The Met Fifth Avenue in
Gallery 116
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44316.txt | Seal with Knob in the Shape of a Turtle
China
ca. 1st–2nd century
On view at The Met Fifth Avenue in
Gallery 207
So-called “seal script,” seen here, is an archaic writing style that was standardized during the Qin (221–206 B.C.) and Han dynasties (206 B.C.–A.D. 220). It is characterized by straight lines of uniform width and angular turns suited to a square format. The inscription reads:
“Seal of Tiannan General”
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7378.txt | Serving Spoon
Joel Sayre
American
John Sayre
1770–1800
On view at The Met Fifth Avenue in
Gallery 774
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1709.txt | Side Chair
American
1750–75
On view at The Met Fifth Avenue in
Gallery 774
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254693.txt | Terracotta statuette of a goddess
Greek, Boeotian
6th century BCE
On view at The Met Fifth Avenue in
Gallery 171
The identification of the figure as a goddess comes from the high headdress that she wears.
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