This is a clear glass inkwell with a dark metal lid. The body is composed of a large sphere balanced on three smaller spheres. It has a circular top with a flat lid.
As with most objects of daily use, inkwells could be modest and utilitarian or more fanciful, the latter employing lavish use of precious materials to reflect and enhance the status of the possessor. Inkwells in the UMMA collections demonstrate a rich variety of materials, including silver, crystal, ceramic, and metal. Some pre-date the emergence of the fountain pen, and many mark the transition from a quill or nib pen to the convenience of the pocket pen commonly found today. Inkwells are avidly collected by those who value the artistry that went into the creation of a beautiful object for everyday life.
On the plate, l.r.: Callot fecit Israel excudit. On the plate, lower right margin: 18 On the plate, lower margin, six verse lines in groups of two disposed from left to right: Cet example d'un Chef plein de reconnoissance, Qui punit les méchans et les bon recompance, Doit picquer les soldats d'un aiguillon d'honneur Puisque de la vertu dépend tout leur bon-heur, Et qu'ordinairement ils reciovent du Vice, La honte, le mespris, et le dernier supplice.
Plaster sculpture of a standing male figure, his right hand resting upon a small column and his left hand holding the arm of a crouching African American female figure.
At the end of the Civil War (1861–65) there was an effort to promote an American Renaissance and to beautify cities with civic monuments and public sculpture. Sculptors, including Randolph Rogers, were commissioned to produce memorials that addressed themes of war and slavery and to commemorate military heroes, from the common soldier to President Abraham Lincoln himself.
This plaster cast was a maquette for a Civil War monument* and depicts Abraham Lincoln as the “Great Emancipator” freeing a slave, establishing a narrative of theoretical peace and unity.
A man in a powdered wig is shown in a bust-length pose, looking to the right. He is dressed in a silk coat with a blue and bronze-colored silk scarf at his throat.
Perronneau here depicts his friend, the engraver and printseller, Laurent Cars. Cars was admitted to the Académie Royale in 1733 as an engraver and he made numerous engraings after paintings by noted painters in France of the era. Around the time that Perronneau painted this portrait, Cars abandoned engraving to devote more time to selling engravings.
After de la Tour, Perronneau was known as one of the most accomplished pastellists in France during a time when pastel enjoyed great popularity. The freedom and verve of this work, particularly the iridescence of the sitter's coat and scarf and the intimate pose devoid of emblems of the sitter's status, are all attributes that are common with pastel portraits of the time.
The two-handed figure stands in relaxed posture on a base consisting of square and round forms. At the bottom of each shape stylized lotus petals are incised. His right hand is extended outwards and would have been holding an arrow and he left arm is extended up to his die to hold a bow. He wears much of jewelry including anklets bracelets, armlets, necklace and shoulder loops, belts with pendant elements and a sacred thread reaching just below his waist. He wears a lower garment with incised lines delineating the folds and sections that flare out to either side. He wears an elaborate crown. One element extends over his right shoulder, which may either be part of his quiver of arrows or a broken section of a halo. He wears a conical headdress incised with a worn pattern. His face is sharply stylized with a long straight nose and wide, open eyes.
Stories of the incarnations of Vishnu are very common and various groups of different numbers of incarnations are found. The most standard one is of ten, the Dasavatara. Rama is number seven in the series and is one of the great epic figures. A long epic known in many different versions in a variety of languages tells his story. His prowess as an archer figures prominently and he is almost invariably shown with one, except in coronation scenes. The monkey Hanuman is associated with his stories.
Seen frontally is a building along a canal. In front of the facade is a brick or cobble pavement; steps lead up to a triple doorway entrance while laundry and windows complete the second story. To either side of the central steps are doorways that lead down. In each of the doorways and on the pavement are grouped figures of women and children. The lower portion of the print shows the reflections of the building and figures.
According to the Glasgow catalogue raisonné, "The shop front of No. 148 Lijnbaansgracht, near the corner of Laurierstraat and Lijnbaansgracht, in the city of Amsterdam, capital of the Netherlands. 7 Beatrice Whistler called it the 'Royen Gracht'. "
Two nude women looking at viewer, standing 1/4 turn to the left. Left-hand figure has right hand behind head, right elbow in air; she also has "paper-colored" hair. The figure on the right has hands on hips, elbows pointing out; left elbow a half-inch from right side of image. Right-hand figure has black hair. Two lines, center and on the right, suggest a ground/floor.