A dark pen drawing with white highlights on a white colored background. It shows a nude female figure seated on a swing. The setting is a wooded area with vegetation and leaves depicted with multiple short strokes that cover the entire area around the figure. The woman is posed facing the viewer with her legs intertwined and her arms above her head, grasping th ropes of the swing. She is gazing out to the left, beyond the viewer and has a joyful expression on her face.
This drawing depicts the subject of a poem by Victor Hugo (1802-1885) titled, "Sara la Baigneuse" (Sarah the Bather). Hector Berlioz also composed a choral work inspired by this poem in 1834.
This is a brown ink and wash drawing on a light background that depicts an expansive landscape with three figures in a row in the center area. The foreground shows a rocky, mountainous area with the figures standing on a ledge and square-shaped buildings, or walls, on a rise to the right. One figure is an old man with long white hair and a beard, who is wearing a draped robe and holding a staff. A woman is walking behind him on the path and balancing a vessel on her head. Another woman, behind her, has her arms at her side and looks downward. In the middle and far section of the drawing there is a walled city being destroyed with violent flooding of the city gates and eathquake-like destruction of the buildings. Far down the path a lone woman raises her hands in a gesture of distress. There are turbulent cloud formations in the sky.
This drawing depicts the story of Lot and his daughters fleeing the city of Sodom, as told in the Book of Genesis in the Old Testament of the Bible. The UMMA drawing was one of 72 sepia drawings that Martin contributed that were made into wood engravings and included in "Illustrations of the Bible", 1831-1835.
A portable painting, with gouache pigments on sized cotton, bordered by three strips of Chinese brocade. The painting is designed to be rolled up when not in use.
This painting is a diagrammatic representation of the transmission of teachings within the Gelugpa School of Tibetan Buddhism. Tsongkhapa (1357 - 1419), the founder of the school, wearing the Gelugpa yellow hat and flanked by two lotus blossoms, is seated at the heart of a vast array of figures. Below him, forming the mountain on which he sits, are row upon row of the meditational deities revered by the school, including Buddhas, bodhisattvas, and deified lamas (teachers), as well as the fierce ‘dharmapala’ deities (protectors of the faith). At the side, seated in large numbers on billowing clouds, are teachers in the Gelugpa lineage. The ascetic figures at the top center, above Tsongkhapa, represent famous Indian mahasiddas, yogis who have mastered tantric teachings.
There are many variants of such lineage diagrams among the schools of Tibetan Buddhism. They type is known by many names, including “Assembly Tree,” “Merit Field,” “Refuge Field,” or “Field of Accumulation”; in Tibetan, the generic term is “tsog shing.”
A sketch of a hillside in the background, seen through the trees. The trees heights are low on the left, leaving the left corner of the image open, and extending taller towards the top of the page as they move right. Between the far right tree and the second to the right is a woman, about 1/5 the size of the tree she stands against. About halfway up the trunk, between the same two trees is a square structure with one darkened window in the middle and a dark scribble to the right of it.
A landscape sketch with of a hill with a line of trees in the foreground and a woman standing within them, reading.
Monogrammed, r.c.: D G R (circular monogram) Inscribed, near top: It isn't a bit like but beastly.. I only send it supposing you shouldn't wish it to go into/ the fire, but if you do, put it there. Some day I'll do a better, says your DGR. Stamp on mat: emblem with a horse
Signed and dated on stone, l.l.: Lithé par Deveria 1824 Above framing lines, c.: No 7 Beneath framing lines: Géricault / Peintre Français, Mort à Paris en 1824 / un Dessin trövé dans des Livres qui / lui ont appartenu.