"Los Proverbios" (also known as "Los Disparates"), plate 5: Reniego al amigo que cubre con las alas y muerde conel pico ("Renounce the friend who covered you with his wings and bites you with his beak") or Disparate volanted (Flying folly)
"Los Proverbios" (also known as "Los Disparates"), plate 7: La que mal marida nunca le falta que diga ("She who is ill wed never misses a chance to say no") or Disparate matrimonial (Matrimonial folly)
This black and white print shows an outdoor scene with lush leafy trees, open sky and mountains in the far distance. Two figures are walking along a wooded path in the foreground- one is a man with wings wearing robed garments and the other a younger man carrying a single large fish. There is a city shown in the middle distance through the trees and a pasture scene depicted on the right.
As with most the Goudt's prints, this composition is based on a painting by Adam Elsheimer, a German painter and friend of Goudt's whom he knew when both were residing in Rome. This scene is based on the Old Testament story of Tobias who, accompanied by the angel Raphael, brings home a fish whose gall cures the blindness of his father, Tobit.
Porcelain bottle vase of double gourd design, flat on reverse side with a slot for hanging on the wall, possibly inside the chamber of a royal sedan chair. Dragon motif is represented on both the upper lobe and the lower one.
In China, the double gourd or calabash is a symbol of the unity between heaven and earth. The gourd with dragon design would be part of the roya decor produced in Jingdezhen during the Wanli period of the Late Ming period.
A dark horizontal opening shows three men working and talking. Above is an arched recess, at the top of which is an open window with a plant. Below the large horizontal opening, a chicken stands in the street just below.
Whistler frequently depicted figures in dark interiors, and forges, smithys, coopers, etc. provided him with suitable material to explore such effects. This image was drawn not far from where the artist lived in Paris in a region of tinsmiths and other metal workers between the rue de Rennes and the cour du Dragon, an area demolished in the early 20th century.
Goldweight in the shape of an upside-down, U-shaped fish, of unknown species, with a bifurcated tail, a series of small spiraling circles along its spine, a long neck with horizontal incisions and a stylized human head with eyes, nose and mouth.
This is an example of a figurative gold weight, as they were used among the Akan-speaking peoples of Ghana and Côte d'Ivoire to weigh out units of gold dust. Representations of fish are common in Akan gold weights; this particular example might represent an imaginary fish or the invisible spirit of the water itself. As a rule, the various spirits, gods, and divinities inhabiting the Akan universe, such as the spirit of the water, have no material form and cannot be seen. However, they have the ability to take on a human or animal form (or a combination of both) and make themselves visible to privileged members of the village community on special occasions.
A nude monk on the top left sits before a Jina at top right. Three Hindu gods, Harihara, Garuda, and Nandi venerate the Jina in the bottom registers.
A book like this would have been comissioned by a lay devotee to illustrate canonical Jain texts as well as demonstrate peity. Texts like these would have been used for meditation and monastic education.
This black and white print depicts a creature with an alligator-like open jaw with three sharp teeth. The creature takes up most of the image and appears to be floating in space. A black ground with a suggestion of a small plant appears at the lower edge of the composition.