Depicts a group of Arab warriors on horseback in full gallop charging away from the viewer through the desert landscape.
Renowned for his dynamic compositions of horses and nomadic Arab warriors in desert landscapes, Schreyer’s rapid sketch-like brushstrokes emphasize the forward momentum of the riders. Schreyer traveled to Syria, Egypt and North Africa in the early 1860s where he thoroughly immersed himself in the Arab culture, and the people and arid landscapes of these regions proved to be a rich source of imagery for his subsequent work.
This black and white drawing depicts an outdoor classical scene. In the center of the composition a nude male figure donning an ornate helmet and brandishing a sword drags a lifeless classically draped figure before an altar on the left on top of which rests armor, a helmet and drapery. Behind this altar is positioned another draped male figure. A fully draped figure points toward two mourning female figures in the right midground. The paper is squared for transfer.
Nude and classically draped figures in an outdoor setting before an altar. Possibly representing Achilles and Hector.
This squat bowl is not smooth but has subtle irregularities in texture and shape, intentionally highlighted by the brilliant red glaze.
Since the late sixteenth century, red has competed with black as a favored color for teabowls. Red bowls come in an astonishingly wide range of colors, from a rusty orange to a pale pink. They are made with a clear glaze over red slip (thin, watery clay). Although this bowl bears a seal reading “raku,” here it probably indicates the style rather than the maker of the bowl. Similarities to pottery made in western Japan suggest that this bowl may come from a workshop in the Hagi or Karatsu area. The bowl demonstrates the wide appeal of the Raku technique to tea practitioners of late Edo-period Japan.
The Roman emperor Vespasian sits in an interior receiving a document from a standing figure to the right of the composition. The emperor is dressed in a white robe and sits on a red chair to the left of the composition. The interior is largely dark, with the exception of the emperor, whose figure is brightly lit.
The painting is in the original frame, which is constructed to resemble a Roman Temple with base, entablature, and fluted ionic pilasters.
The architecture and artifacts of ancient Rome were of enduring interest to Alma-Tadema and the artist kept for his use both reference photographs and his own drawings of chairs, friezes, and other details of daily life that he could see in the Naples Museum and elsewhere. These details were employed to convey a strong sense of period authenticity, in this case the report delivered to Vespasian from his son, Titus, describing the sack of the city of Jerusalem. The rich coloration, thoughtful pose of the emperor, and strong light on the seated figure all contribute to the quiet and meditative mood of the work.
Senatus populusque Romanus / monumenta marmorea magistratuum / triumphorumque ab urbe condita ad / tempora divi Augusti ruderibus in foro / egestis eruta impensa Al ex(andri) Farnesii card(inalis) / Pauli III Pont(ificis) Max(imi) nepot(is) in Capitolio p(osita), from Piranesi's Lapides Capitolini (1762)
Large double-folio print, with fold marks. Contains various monuments and their text from ancient Rome. Title plate beneath print indicates that the fragments were from ancient Rome and found in various ancient ruins, with the exception of fragment XLIX, currently (at time of print) in the collection of the Collegio Romano, a building then housing the Jesuits' Rome seminary.
Print is patched. Separate plate marks are visible between image and inscription. The image is patched from four segments, while the text below is patched from two segments. Paper bears no watermark. Folio fold marks are noted on copy in file. Large text portions read as follows:
Inscription 1 (in image plate, center): senatus populusque Romanus / monumenta marmorea magistratuum / triumphorumque ab urbe condita ad / tempora divi Augusti ruderibus in foro / egestis eruta impensa Al ex(andri) Farnesii card(inalis) / Pauli III Pont(ificis) Max(imi) nepot(is) in Capitolio p(osita)
Inscription 2 (in separate text plate attached at bottom): Lapides Capitolini / Sive Fastorum fragmenta, quos Verrius Flaccus, Caii et Lucii, Augusti Nepotum, praeceptor ase dispositos in inferiore fori parte conlocaverat, nunc primum edita prout cermuntur in Capitolio servata / nempe characteris et Lapidum forma, additis ad ornatum degantioribus aliquot veteribus sigillis, et anaglyplus / Fragmentum XLIX in Collegio Romano Patrum Societatis Jesu adservatum
Monuments erected in ancient Rome, and their inscriptions. Text reads: X.