An ink drawing of a thatched roof and chimney. There are four windows, three to the front of the house and one on the side next to the chimney. At both ends of the roof are two wheathervanes, identified as being from the 17th century.
A partial view of a four-story building, concentrating on pairs of windows on each story and a wrought iron fence on the ground level. Windows have window boxes or balconies; on the ground level are several dogs on either side and a pair of milk cans at the center in front of the fence.
Whistler focused on lithography over etching during the 1890s, making his etched views of Paris, that were never printed in editions, quite rare.
Whistler uses a partial representation to evoke the whole, playing on the theme and variation offered by the pairs of windows on each floor of the building, as well as for the dogs and cans in the foreground. Another playful touch is the way he employs his "butterfly" signature on the left side to balance the join on the downspout on the right side of the image.
A black and white lithograph print of a face of a house. The top portion shows the texture of a vertically-oriented ridged roof. Just underneath are rectangular window openings with slightly-opened blinds to reveal a light source from within. Under each rectangle are two tall columns, also window openings, each with varying degrees of open blinds to reveal different levels of light from inside the structure.
The south flank of a church is seen through the branches of leafless trees. A central tower over the entrance dominates the upper portion of the composition. In the foreground, a curving rail indicates a path leading up to the side of the building; seated just to the left of the church are several people seated on a park bench.
Whistler had proposed a series of lithographs of London churches but only St. Anne's and St. Giles-in-the-Fields were realized. Located in Soho, St. Giles was built by Henry Flitcroft between 1731-1733.
Jaina altar piece of the 24 [Caturvimsati] Jinas: with standing nude figure of Mahavira cast in the round occupying central area of base, flanked by small tirthankaras; incsribed but unread. From Mysore, Karnataka.
This shrine depicts a large seated Jina surrounded by 23 other jina figures and a variety of attendants. The Jina figures that adorn the sides and are arranged in tiers above the main figure. The side columns and the whole is surmounted by auspicious pot forms. The main figure sits in the lotus position on a lion throne flanked by a male and female demigod. Along the sides he is flanked by standing cauri bearers, garland bearers above them and riders on elephants above that with an umbrella with a standing figure on it above his head. At the base in the center is a standing figure holding a sick or club with a bull cognizance behind him on the base of the throne. The nine globs on the base, four to his right and five to his left represent the nine planets and his hands folded in a gesture of meditation
Identified as the jina Rishabha by the bull before his throne, Rishabha or Adinatha is the first of the Jaina line of teachers. Loosely translated as Spiritual Victors and called Peaceful Liberators in an important exhibition catalogue, there is a line of twenty-four jinas in Jainism. Their other important title is tirthamkara, or “ford crosser” designating them as figures who can teach others in the means for liberation. Jaina cosmology consists of a constant swing from perfection to dissolution and twenty-four jinas map out this progression. Rishabha, as the first existed at a time when the perfect state began to dissolve, had to teach people how to cope. For instance, when Wish Fulfilling Trees stopped producing, he had to teach people agriculture. He had to teach them pottery, statecraft and many other things. Rishabha, the primordial tirthankara, taught mankind the arts that separate them from beasts, including the kindling of fire. He also established the basic structures of society by dividing people into classes according to their occupations. On this altarpiece there are 23 teachers surround him. The rituals used for Jaina images are often the same as used in Hinduism and there is some confusion over this in the literature. Hindus consider them gods, but Jainas do not, but they are objects of reverence.
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
One of a pair of windows with a highly regular, rectilinear, although asymetric, design in both clear and colored glass. Window has an oak frame. Window design consists of vertical and horizontal bands of green and amber colorerd glass at top and bottom of window; along one side are colored squares of glass; along the other is a chevron-shaped column of glass. The overall effect is of colored pieces of glass suspended within a clear window subdivided by abstract bands and patterns of lead caming.
The Darwin Martin house was considered by Wright to be one of the most important and satisfying houses he build in the early part of his career and stands as an outstanding example of Prairie School architecture. This pair of windows (1968/2.53-53) from the first floor of the Martin house contains an abstracted pattern based on wisteria, seen in the vertical row of chevron-patterned glass.