A lone boatman appears from behing the rocks, looking forward. Above him and slightl foregrounded arches a tree, and behind him lay a series of trees and rocks. Black dots are used to accent the rocks, and repeating patterns indicate leaves on trees. Red seals are in the lower left and lower right corners, and a third is at the end of the block of calligraphic text at top right.
The Sixth Night Vigil from a Kalpasutra manuscript (fol. no. 38v), depicting two pairs of queens
Artist Unknown, India, Gujarat
A scene in the life of Mahavira. The composition is designated a narrow strip near the left, while the rest of the page is used for text and red circles. The illustration is divided into two registers, with depictions of two women in each. The infant Mahavira is seen in his mother’s arms, at the upper left.
Two cubs lay beneath their mother, whose back is to the viewer, yet curves her head around to face outwards. Her eyes are golden, and look out towards the viewer. One cub looks up at its mother with closed eyes. The mother's white whiskers stand out against the otherwise warm, golden tones of the painting.
Portrait of Sir Foster Cunilffe, 3rd Bt. of Acton Park, Wrexham, Denbingshire (1755-1834)
Full-length portrait of a standing male in a lanscape setting. To the left of the composition stands a pair of birches near the figure; to the right the landscape opens up to a distant expanse of trees and hills. The man, Sir Foster Cunliiffe, stands facing to the right and looking out of the canvas to the left. He holds a bow and quiver of arrows; a black hat with feather lies on the ground at his feet. He is dressed in tan pants and waistcoat with a green frock coat and black boots.
High-gloss abstract expressionist painting of a large Africa-shaped form in red against black ground. Clough’s unique way of applying paint to the canvas results in a highly articulated and densely textured surface. “In place of the brush and other typical painter's tools, Clough uses an instrument he calls the ‘Big Finger,’ a large balloon-like contraption that he invented to spread poured house enamel on masonite into broad gestural constellations.” (Max Henry, “charles clough,” http://www.artnet.com/magazine_pre2000/reviews/henry/henry2-5-99.asp)
An abstract painting done in various shades of grays, browns and greens. The background is painted in thick, unblended horisontal strokes. A group of men, one dressed in blue robes and the rest nude, extend their arms and a white flag, possibly in a sign of surrender or possibly for rescue. All are facing away from the viewer except for one, who is much paler than the others and looks quite emaciated. They appear to be floating on a raft but it is difficult to say if they are on water or land.
Two lovers sit in an elaborate, symmetrical marble palace, decorated with inlaid stone and a domed roof. Inside, a highly individualized prince sits near his lover and caresses her chin. Above the scene is a box containing calligraphic text.
The background of this print is covered with whitish paint or gesso that reveals the texture of the canvas, brush, and its application. Where material has been applied to the canvas there are small wrinkles. Dashes of black paint appear on the lower two thirds of the collage. What looks like a signature is in the bottom left.
Lady meeting her lover from the Rasamanjari of Bhanudatta series
India, Rajasthan, Mewar School
Brightly colored painting with three primary registers. The uppermost and smallest register contains a poem. The lower two are larger and similar in size. The bottommost depicts stairs, architectural structures, snakes, and flowering plants. Above, the middle register frames a seated man under a canopy-like architectural form, who reaches out to grasp the wrist of a woman. Behind her is a flowering tree, and and the far right, and open door.