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'. "
Inscribed in pencil, verso, l.l.: 17. Inscribed in pencil, verso both u.l. and center: p-546 Inscribed in pencil, verso, l.l.: #1 Stamped and numbered and dated in pencil, verso, l.r.: Walker Evans XIV 81 c.1934 (numbers in boxes: see object file accession sheet for clarification)
Inscribed: A rough sketch in S. Zeno Verona / Looking down into the Crypt / below East End of Church Upper r. sketch inscribed: A Bit in the Crypt below./ Distance between/ columns 10ft. / Height to top of / Capital 9'10"
Capital marked: this cap is very effective Statue marked: Foot of a statue Base marked: Leaf broken away Shaft marked: this is one of the most effective mouldings I have seen Notations re shaft #3: Divided into 3 1/4" squares recessed about 1/2" and modelled to thinner thickness towards straight line. Also this one looks very well. the last is something like the moulding I saw on front entrance to S. Zeno in . Sketch #2 titled, l.l.: Part Section thr'o Jamb Sketch #3 notations referring to sketch #1: Full Size of A; Full Size of B
On verso, l.l., inscribed in pencil: Canterbury Cathedral On verso, sticker, l.r.: $450 On verso, u.l. book plate: EX LIBRIS FREDERICK H. EVANS LET THOSE WHO HOLD THE TORCH HAND IT ON TO OTHERS Blind Stamp, l.r.
Goldweight in the shape of a key, with two series of three lines around the body.
The representation of domestic objects is a common motif in Akan goldweights, yet the meaning of the key represented here goes beyond that of an ordinary household object. European-style keys and padlocks began to be imported to the Akan-speaking regions of Ghana and Cote d'Ivoire from the 16th or 17th century onwards, and were used to secure large chests containing clothes and other valuables. Keys soon came to stand for power and wealth, particularly the power of the state, as it became custom to keep bunches of keys as part of the treasure of the various Akan states. The importance of keys as a symbol of power is complemented by the use of "key" metaphors in Akan proverbs, such as the following: "One question acts as the key to another."
Goldweight in the shape of a chest decorated with side-by-side "star" forms on the top and sides.
Early historic records indicate that chiefs from the various coastal Akan states (in what are now Ghana and Côte d"ivoire) frequently requested ironbound coffers from their European trading partners. Kings and chiefs would use these chests to hold their gold dust; a particular kind of wooden chest was called "apemadaka", or "£ 1,000 (Pound Sterling) Chest" because it could hold 1,000 individually wrapped bundles of gold dust worth 1 English Pound. Chests and boxes like this one are not only a common motif for goldweights, but are represented on other objects as well, including actual gold dust boxes.