Firescreen consists of a rectangular metal frame with glass and metal elements set in rectangular (largely geometric) framing patterns around a central panel of white and purple vertical glass rods. Along the bottom is a border of white, amber, and green glass circular elements in a more naturalistic pattern evoking grapes.
This firescreen was set in the entry hall of the Henry O. Havemeyer house, built in New York City 1890-91 with interior decoration by Louis Comfort Tiffany. As with most of Tiffany's designs for the Havemeyer house, this element combines geometric shapes with more curvilinear elements.
Eight worshippers sit to the right of a sky-clad (nude) Jina and monk. They each raise beads in their hands. Below them a struggle is depicted. Two men in shorts wrestle, while a snake, tiger, and elephant rera up beside a fire.
In the Jain religion, book production reflects the integral relationship among the laity, monastic community, and the Jina, or enlightened Jain teacher. The dedication of sacred books for shrines is required of devotees, and while commissioning a book fulfills the lay obligation of charity, beholding a book helps the individual achieve the proper mental state for spiritual guidance. It was customary for a lay donor to commission a copy of a text for presentation to his spiritual teacher and ultimately to the temple library.
Inscription, in pen, along top and bottom edged: Copy of a Print by Gilray the original of which I gave to/ Wm. Hone to produce on his trial & of which afterwards I made/ an etching of this size George Cruikshank
A man wearing a tunic, cape and boots stands in a minimal landscape. His walking stick seems to be falling away from him at the right as the man points upwards toward the sun's rays, as well as extends his right hand towards fire at the lower left.
The first ancient thinker to believe that the world was composed of four elements: fire, air, earth, and water, Empedocles also thought that fire on the earth endeavored to rejoin the great fire in the sky—the Sun.
The figure in the engraving can be interpreted as either Empedocles or St. Roch. The inscription at the bottom, “Peregrinus Empedocles” refers to Empedocles as “foreign”, but his garb follows the traditional depictions of Saint Roch: pilgrim’s staff, hat, and cloak. Both the saint and the philosopher were great healers and the conflation of the two figures continues Rosso’s original intention of twin identities.
A naked Jina sits on a throne with a naked monk to his left offering praise. A devotee sits in a lotus pond that is surrounded by flames, yet his face appears serene ans he holds his rosary. Two cobras appear next to the flames, with a three in the background.
This is an illustration in a Digambara Jain manuscript of verse 40-41 of the hymn Bhaktamara Stotra.
This illustration seems to combine ideas in verses 40 and 41, which describe the miraculous benefits of the hymn, although it corresponds very closely to the illustration for verse 40 in the manuscript with text. Verse 40 tells us that a violently raging fire is turned into a cool lotus pond by the power of the hymn, while verse 41 says that the name of the Jina is like a magic herb that quiets the most violent cobra when it is poised to attack. The illustration shows the Jina and M?natu?ga in the upper register. Below we see the worshipper holding a rosary, engulfed in flames but seated calmly in a lotus pond. The snake is shown twice, first as it attacks and then as it is turning back.
Verso, inscribed in red paint, c., u.l. and l.r. of panel: 70.14a (l. panel), 70.14b (r. panel); in crayon, u.l..: Rockburne/67/2 parts (r. panel); sheet attached to l. panel, bot. third: see copy in object file. Aluminum panels are stamped: ALCOA REG/TM .O64 ANA
231.78 cm x 219.1 cm x 6.67 cm (91 1/4 in. x 86 1/4 in. x 2 5/8 in.)
Two large panels painted red panels of aluminum, situated against one another so that the seam is visible at center. A line of white runs along each panel's outer edge.
A minimalist piece, the subject matter of which is 1) the red color, from which the piece takes its name, "Fire Engine Red," 2) the effect on the color of the painting surface, aluminum, and 3) the texture of the painted surface, which was quickly dried and given a wrinkled texture with a heat lamp.