Artist Unknown, African, Yombe Peoples Democratic Republic of the Congo
Small, carved male figure, seated atop a block, with legs crossed. The naturalism with which the expressive face is carved, the high crested coiffure (or chiefly cap?) and the progressive foreshortening of the body show the importance given to the head in Yombe aesthetics. The figure's eyes are mirrored glass, and the upper body, face and head are studded with brass tacks. A slight vertical crack can be seen at the figure's sternum.
The Yombe figure was identified for UMMA by Allen Roberts and Mary (Polly) Nooter Roberts. There was a discrepency regarding the dating of the piece: the export paperwork said "circa 1830", but the dealer's catalogue said early 19th c. When asked to help resolve the dating, Polly Nooter Roberts replied: "As for the Yombe figure, I can tell you with certainty that it is NOT early 20th century, and is definitely from the 19th century, if not earlier. I cannot confirm the 1830 date, but I would be more inclined to believe that than the early 20th century. So, I think you can confidently say 19th century, and perhaps you can go ahead and use the paperwork that says 1830 since that was supplied with it." See e-mail to Carole McNamara, 1/12/00.
Cantley Wherries Waiting for the Turn of the Tide, plate XIV from "Life and Landscape on the Norfolk Broads"
This photograph is horizontally oriented and portrays a marshy shoreline. The foreground is filled with rushes. The horizon line, in the upper portion of the work, depicts homes, a windmill in the distance, and patches of water. Bare trees also dot this outdoor scene.
This black and white engraving features a portrait of a young woman in a roundel in the upper portion of the print. The young woman’s face is shown in three-quarter profile. Her hair is pulled back and her head is partially covered in a hooded cloak that appears to be bordered with fur. In the lower register of the print there is an illustration framed by a decorative wreath. The illustration features a bedroom scene populated by several figures. A figure lies on the bed on the right of this image while several figures attend to the bed-ridden figure, including a woman whose costume mirrors that of the woman in the roundel above this image. In this image she is accompanied by a child whom she embraces as she gestures toward the figure on the bed.
Artist Unknown, African, Ndebele peoples South Africa
A wooden staff, covered with beads in solid colors (red, blue, green and orange) outlined in black against a background of white beads, with a sideways M pattern in the middle of the shaft on either side. A stylized head of open beadwork tops the staff, followed by a tight-fitting necklace-like band with a clasp in orange and green and a white band, above solid red and blue rings.
Journey of the Soul to the Paradise of the Queen Mother of the West
Artist Unknown, China
Limestone slab carved bas-relief with six registers. The lower register depicts a chariot procession above fish-inhabited waters. The central three registers depict figures carrying out funerary rites. The top register shows a winged creature with a human face flanked by two writhing dragons and other animals, including two rabbits and a nine-tailed fox.
The armor is comprised of a round helmet with a neck protector and a crescent-moon shaped ornament; a mask with fake mustache; an upper-body protector with sleeves from waist down and paulownia crest in the middle; a thigh cover; two metal leg protectors; two arm and hand protectors. The suit is stored in a black lacquered box with the gold crest.
The helmet is made of red-painted metal lined with indigo-died cotton fabric and deer skin leather trim, which is attached to the metal helmet. The cotton is quilted with indigo-dyed cotton threads. There are two loops on side and one loop in the back, to hold a code for tying below the wearer’s chin. The code is indigo-dyed and then plaited; there are some fading areas. On the outside of helmet, the paulownia crest is on side flaps (to protect ears). There is a hole in the middle of the helmet for a head ornament. The metal leaves are interlaced with cotton strings. Ceremonial knots of yellow code on the back. It weights about 10 pounds.
The helmet ornament is in crescent moon shape and made of lacquered wood in gold color. There is a slot on the back to place the ornament in the helmet. The slot is nailed to the wood; it looks like a later creation.
The mask covers below the wearer’s eyes, ears, nose and mouth, and down to front neck. The upper part is made of metal; the neck is in metal pieces and cotton codes. The mustache is made of animal hair. The mouth has fake teeth painted with gold.
The arm and hand protectors are made of red-painted metal shell and silk fabric with small flower motifs lined with deerskin and indigo-dyed cotton fabric. The shell is consisted of small metal panels connected with chains. The hand protectors have three different crests. The protectors are tied with indigo dyed cotton codes on back.
The leg protectors are also made of red-painted metal with silk fabric lining. On the metal surface of each piece, there are the artist’s signature and seal.
The body is consisted of metal panels, lacquered with gold in design of peonies and vines. The family crest appears in the middle. Metal knots are in chrysanthemum design. Inside is lined with leather printed with lions and peonies. The shoulder pads are made of cotton quilt in tortoise shell design.
The apron for thighs is made of silk fabric quilt and metal panels. The metal panels protect thighs. The apron belt is made of cotton kasuri; the back is lined with indigo dyed cotton.
The thick belt for the body is made of padded silk fabric.
Upright Venice, One of the 'Twenty-six Etchings,' or the 'Second Venice Set'
James McNeill Whistler
Seen from an elevated vantage point, a quay in the foreground with boats anchored nearby and figures talking is balanced in the upper part of the image by a view of buildings along the canals, gondolas, shipping and, just left of center a large domed church.
Artist Life Dates
1834 - 1903
Object Creation Date
Medium and Support
etching and drypoint, printed in black ink on laid paper, trimmed to platemark
Cinerary Urn or Reliquary with stamped circle designs
Artist Unknown, Korea
This stoneware vessel consists of a bowl and lid. The curved hemispheric lid has a ring-shaped knob in the center and is decorated with stamped design irregularly. The high and hemispheric bowl stands on the low foot with a flat base. This part is also decorated with densely and evenly stamped design.
Stoneware jar with natural ash glaze, squat body and lid. Along the widest horizontal stretch is a design of incised concentric circles, with another row above consisting of circles comprised of a pattern of impressions marking the edge of each circle. The convex curve of the lid also contains a row of incised concentric circles, before sloping into a concave valley, and rising up again to a small plateau. It is on this landing that a cintamani style knob rests.
Object Creation Date
7th century - 8th century
Medium and Support
stoneware with stamped design and natural ash glaze
Stoneware jar with natural ash glaze and rounded lid. Along the widest horizontal stretch is an incised circle-and-dot design. A design of concentric circles also loops around just as the rounded curve of the lid begins to flatten into a plateau on which a cintamani style knob rests.
This is a tall vase with an oval shaped body. It has a short neck with a flat banded lip and the shoulder has a distinct, but rounded edge. It has a dark blue glaze and the upper portion has a golden iridescent color. The surface of the pottery is very rough with bumps and rough patches.