The Metropolitan Museum of Art Bulletin

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Recent AcquisitA SELECTION: 2000-2001TheMetropolitan Museum of ArtThe Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

This publication was made possiblethrough the generbsity of theLila Acheson Wallace Fund forThe Metropolitan Museum of Artestablished by the cofounder ofReader's Digest.The Metropolitan Museum ofArt BulletinFall 2001Volume LIX, Number 2 (ISSN 0026-I52I)Published quarterly. Copyright ? 200I by TheMetropolitan Museum of Art, Iooo Fifth Avenue,New York, N.Y. I0028-0198.Periodicals postage paid at New York, N.Y.,and Additional Mailing Offices. The MetropolitanMuseum ofArt Bulletin is provided as a benefit toMuseum members and is available by subscription.Subscriptions $25.00 a year. Single copies $8.95.Four weeks' notice required for change of address.POSTMASTER: Send address changes to MembershipDepartment, The Metropolitan Museum of Art,Iooo Fifth Avenue, New York, N.Y. 10028-oI98.Back issues available on microfilm from UniversityMicrofilms, 300 N. Zeeb Road, Ann Arbor, Mich.48106. Volumes I-XXXVII (1905-42) availableas clothbound reprint set or as individual yearlyvolumes from Ayer Company Publishers Inc.,50 Northwestern Drive #Io, Salem, N.H. 03079,or from the Museum, Box 700, Middle Village,N.Y. II379.

Contents5 Director's Note7 Contributors8 Ancient World14 Islam17 Medieval Europe21 Renaissance and Baroque Europe32 Europe I700-I90048 North America I700-190056 Modern72 Africa, Oceania, and the Americas76 Asia86 Donors of Gifts of Works of Artor of Funds for Acquisition of Works of Art

ContributorsAmerican Decorative ArtsNorth America I700-I9oo: Morrison H.Heckscher (MHH), Lawrence A. FleischmanChairman of the American Wing; AliceCooney Frelinghuysen (ACF), Anthony W.and Lulu C. Wang Curator; Beth CarverWees (BCW), Associate Curator; MedillHiggins Harvey (MH), Research Assistant.American Paintings and SculptureNorth America I700-oo00: H. BarbaraWeinberg (HBW), Alice Pratt BrownCurator; Carrie Rebora Barratt (CRB),Curator; Kevin J. Avery (KJA), AssociateCurator. Modern: H. Barbara Weinberg(HBW).Ancient Near Eastern ArtAncient World: Joan Aruz (JA), Curator.Arms and ArmorRenaissance and Baroque Europe: Stuart W.Pyhrr (SWP), Arthur Ochs SulzbergerCurator in Charge. Asia: Donald J. LaRocca(DJL), Curator.Arts of Africa, Oceania, and the AmericasAfrica, Oceania, and the Americas: AlisaLaGamma (AL), Associate Curator; EricKjellgren (EK), Evelyn A. J. Hall andJohn A. Friede Assistant Curator; Heidi King(HK), Senior Research Associate; Virginia-Lee Webb (VLW), Associate ResearchCurator, Photograph Study Collection.Asian ArtAsia: James C. Y. Watt (JCYW), BrookeRussell Astor Chairman; Barbara B. Ford(BBF), Curator; Maxwell K. Hearn (MKH),Curator; Martin Lerner (ML), Curator;Suzanne G. Valenstein (SGV), Fellow;Steven M. Kossak (SMK), Associate Curator;Denise Patry Leidy (DPL), AssociateCurator; Masako Watanabe (MW), SeniorResearch Associate.Costume InstituteModern: Harold Koda (HK), Curator inCharge. Africa, Oceania, and the Americas:Emily Martin (EM), Research Associate.Drawings and PrintsRenaissance and Baroque Europe: Carmen C.Bambach (CCB), Associate Curator;Nadine M. Orenstein (NMO), AssociateCurator; Michiel C. Plomp (MCP), AssociateCurator; Perrin Stein (PS), Associate Curator;Elizabeth E. Barker (EEB), Assistant Curator.Europe 70o0-oo00: Colta Ives (CI), Curator;Elizabeth E. Barker (EEB). Modern: ColtaIves (CI); Samantha J. Rippner (SJR),Curatorial Assistant.European PaintingsRenaissance and Baroque Europe: KeithChristiansen (KC), Jayne WrightsmanCurator; Walter Liedtke (WL), Curator;Mary Sprinson de Jesus (MSdJ), ResearchFellow. Europe I700-9o00: Gary Tinterow(GT), Engelhard Curator of Nineteenth-Century European Painting; Susan AlysonStein (SAS), Associate Curator. Modern:Gary Tinterow (GT).European Sculpture and Decorative ArtsRenaissance and Baroque Europe: James DavidDraper (JDD), Henry R. Kravis Curator.Europe I700-oo00: James David Draper(JDD); Danielle O. Kisluk-Grosheide(DK-G), Associate Curator; Wolfram Koeppe(WK), Associate Curator; Jessie McNab(JMcN), Associate Curator; Jeffrey H.Munger (JHM), Associate Curator.Greek and Roman ArtAncient World: Carlos A. Pic6n (CAP),Curator in Charge; Joan R. Mertens (JRM),Curator; Christopher S. Lightfoot (CSL),Associate Curator; Sean Hemingway (SH),Assistant Curator.Islamic ArtIslam: Daniel Walker (DW), Patti CadbyBirch Curator; Stefano Carboni (SC),Associate Curator; Navina Haidar (NH),Assistant Curator.Medieval Art and The CloistersAncient World: Melanie Holcomb (MH),Assistant Curator. Medieval Europe: PeterBarnet (PB), Michel David-Weill Curatorin Charge; Barbara Drake Boehm (BDB),Curator; Timothy B. Husband (TBH),Curator; Charles T. Little (CTL), Curator;Julien Chapuis (JC), Associate Curator.Modern ArtEurope 1700-oo00: Sabine Rewald (SR),Associate Curator. Modern: Lisa M.Messinger (LMM), Associate Curator; SabineRewald (SR); Jane Adlin (JA), AssistantCurator; Jared Goss (JG), Assistant Curator;Anne L. Strauss (ALS), Assistant Curator;Nan Rosenthal (NR), Consultant; J. StewartJohnson (JSJ), Consultant for Design andArchitecture.Musical InstrumentsEurope I700-9o00: Herbert Heyde (HH),Associate Curator; Stewart S. Pollens (SSP),Associate Conservator. North AmericaI700-oo00:Herbert Heyde (HH).PhotographsEurope 1700-9o00: Malcolm Daniel (MD),Associate Curator. Modern: Jeff L.Rosenheim (JLR), Assistant Curator;Douglas Eklund (DE), Research Associate;Mia Fineman (MF), Research Assistant.7

SirenGreek, Archaic period, ca. 55o-50oo B.C.TerracottaL. p2 in. (24.1 cm)Purchase, Renee E. and Robert A. BelferGift, zooo2000.276Support in the Shape of a SphinxGreek, ca. 600 B.C.BronzeH. ios8 in. (27.6 cm)Gift from the family of Howard J. Barnet,in his memory, zooo2000.660Ancient literary sources and rare survivingobjects testify to the monumental bronzeutensils produced in Greece from the ninthto the sixth century B.C. This sphinx was oneof the three-or more-supports that carriedon their heads a shallow bronze basin measuringat least a meter in diameter. The hollowcore of the piece is filled with lead, whichhelped to stabilize the utensil and, supplementedby rivets, held the various parts together. Thesphinx has an elaborate coiffure with spiralcurls over her forehead and tresses that fallbehind her ears and widen in a succession ofwaves. A bolero-like arrangement of scalesrepresents the feathers on her body and overlaps,in low relief, the flight feathers of herwings. She stands on a single feline paw,which is appropriate because a sphinx is partwoman, part bird, and part lion. Amongearly utensil supports, female figures withdemonic power are frequent; Gorgons ratherthan sphinxes predominate. Two hollowsbelow the sphinx's wings indicate that originallyshe had a pair of arms or a second pairof wings, following Near Eastern prototypes.JRMPart woman, part bird, this robust ArchaicGreek sculpture represents a siren, a mythicalcreature famous in antiquity for its song thatlured sailors off course to their deaths. InGreek mythology sirens, like harpies, embodieda potent aspect of feminine power. Thewily hero Odysseus encountered them neartheir island in the Tyrrhenian Sea. By beinglashed to the mast of his ship, Odysseus wasable to hear the sirens' song without danger,while his crew plugged their ears so as not tobe enchanted.The geographer Strabo and other ancientwriters tell us that sanctuaries dedicated tothe sirens existed in parts of southern Italyand elsewhere. This sculpture may well havebeen a votive offering at such a sanctuary.Modeled by hand with applied decoration,it is much rarer than the mold-made, siren-shaped terracotta vessels that were popularthroughout the Greek world during theArchaic period. It may also have been partof a sculptural group or have served as acrowning architectural element, possibly fora funerary monument, another context inwhich sirens frequently appear in Greek art.SH9

Bracelet with Central MedallionGreek, Hellenistic period, 2nd century B. C.Gold and glassDiam. 3$8 in. (8.7 cm)Purchase, The Concordia Foundation Giftand Marguerite and Frank A. Cosgrove Jr.Fund, zooI2001.230Situla (Wine Bucket) with Two HandlesGreek, Hellenistic period, late 4th-early3rd century B. C.Glass and silver with gilding andpaintH. 8 in. (20.4 cm)Purchase, The Bernard and AudreyAronson Charitable Trust Gift, in memoryof her beloved husband, Bernard Aronson,20002000.277This is an exceptional object by virtue of itsrarity, quality, technique, and decoration.Prior to the invention of glassblowing in thefirst century B.C. (a development that allowedmass production), the finest glass vessels wereluxury objects. The bucket was manufacturedby casting a thick block of translucent greenishglass, which was then ground, polished,painted, and gilded. The swing handles areflat strips of silver.The situla is an exceedingly rare shape inthe repertoire of Greek glassmakers. Evenmore remarkable, however, is the paintedand gilded decoration that originally coveredmost of the exterior. The ornament comprisesthree main elements: A continuous wave patternin pinkish red runs under the rim; twobroad vertical stripes with wavy tendrils inpurplish red descend the sides of the bucketThis gold bracelet is composed of two tubularsections hinged to an oval box bezel thatis embellished with a large purple glass cameowith a white border. Gold pins secure thecollars of the two semicircular hoops. Themost distinctive feature of this well-preservedbracelet (or armlet) is the treatment of theouter surfaces of the hoops: They are coveredwith a delicate network of filigree created byplacing parallel rows of wire in a zigzag patternand dotting the points of contact withgranules. This unusual type of decorationfinds a close parallel in the three magnificentgold bracelets (or torques) from the so-calledKarpenisi Treasure in Athens. Divided betweenthe National Archaeological Museum (StathatosCollection) and the Benaki Museum, this(there are traces of gilding over the paint in famous Thessalian hoard has traditionallythe vertical bands); and the rest of the vessel'sbeen assigned to the second century B.C. Inbody is largely covered with rows of assortedterms of typology, our piece stands as a rarefloral or featherlike ornaments, painted in Hellenistic forerunner of a popular kind ofseveral shades of pinkish red outlined with Roman bracelet featuring twisted hoops anddark brown. A pink rosette occupies the cen- hinged box settings decorated with gemterof the situla's base. If the stones, a fine painted patternsexample of which is owned byin fact represent overlapping feathers rather the Metropolitan (acc. no. I995.539.I3).CAPthan floral motifs, one could venture anEgyptian origin for our glass bucket, since theuse of feathers to denote divinity has a longhistory in Egyptian art. CAPIO

AmphoraRoman, ist century B. C.-Ist century A.D.Banded agateH. 24 in. (5. cm)Purchase, Mr. and Mrs. Sid R. Bass Gift,in honor of Annette de la Renta, andRogers Fund, 200oo2001.253Chariot or Cart Trappings (?)Provincial Roman, 2nd-3rd century A.D.Copper alloy with champleve enamelLargestplaque 5Ys x 3 s in. (I4.3 x 9.7 cm)Purchase, Jeannette and Jonathan RosenGift and Fletcher Fund, zooo2000.505a-oThis ensemble of champleve-enamel plaques,remarkable for their vivid colors and exuberantpresentation of classical motifs, atteststo the skills of artists working in the outerreaches of the Roman Empire in the centuriesof its greatest extent. The technique had longbeen a specialty of Celtic metalworkers, andit continued to develop independently of thegreat cities of the empire. Early enamels havebeen found in Britain, the northern Caucasus,southern Russia, and Syria, with the greatestconcentration in Belgium and the Rhineland.Rome, a center of glassmaking, knew little ofthe art form. Indeed, one writer attached tothe imperial court in the early third centurymarveled at the exotic ornaments fashionedwith hardened colors by the "barbarians ofthe outer sea."The precise function of this group is uncertain.The backs of nine plaques have projectingtangs that vary in their shape, size,and orientation. Short chains hanging fromthe sides distinguish one pair, while anotherpair sits atop a metal axle attached to wheellikedisks (bottom center). The quantity andhardware of the plaques suggest that theymight have decorated a chariot or cart; suchvehicles were often splendidly ornamentedin the Roman world.MHIn Hellenistic and Roman times vessels madein semiprecious stone were much soughtafter as symbols of wealth and sophistication.Relatively few examples, however, have comedown from antiquity; most of the survivinghard-stone vessels are small containers, suchas this exquisite banded-agate amphora. Despiteits small size, the vessel is a masterly exampleof the maker's skill. Not only does it have apleasing shape and an attractive polishedsurface that shows off the patterning in theagate, but the carving out of the inside is alsoevidence of great technical dexterity.Although gem-cutting workshops existedin Rome during the first century B.C., the techniquesused to make such hard-stone bottlesmay be linked more closely to the productionof luxury cast glassware. The establishmentof such a glass industry in the imperial capital,probably during the Augustan period(27 B.C.-A.D. 14), may give support to theview that craftsmen making hard-stone vesselsalso migrated to that city, where theRoman aristocracy undoubtedly providedthem with most of their business.CSLII

Portrait Head of a Roman MatronRoman, ca. 40-20 B.C.MarbleH. 10o4 in. (26 cm)Purchase, Philodoroi Gifts, zooo2000.38This portrait conveys an air of modestia andsimplicitas that is appropriate for its subjectanupper-class Roman matron. Such portraitsare less common than those of Roman men.Like many others, however, this example canbe closely dated by its hairstyle, known as thenodus (roll) coiffure, which became popularin Rome during the late first century B.C.Here the roll of hair above the forehead iscombined with a bun worn at the back ofthe head in a markedly conservative mode.This old-fashioned hairstyle fits well with theportrait's visible signs of aging-sunken eyes,slightly sagging skin at the jawline, and indentationsat the corners of the mouth. Such detailssuggest that the sitter wanted to be seen as atraditional and virtuous Roman woman whodedicated herself to her home and family ratherthan to the latest dictates of high society. Thesculpture retains traces of its original painteddecoration, most notably on the right eye,where both the iris and the eyelashes are stillvisible. Brown pigment can also be seen onand around the bun. These features give theportrait an added interest, as it is highly unusualfor painted details to survive.CSL12

ISLAMand the crescent attached to its collar. Butthe presence of S-spun linen (named for thedirection of the twist, imparted in the processof forming a continuous thread from thefiber) virtually ensures that the textile is ofEgyptian manufacture.A repeat pattern such as the one we speculateexisted on this piece was developed fordrawloom weaving of luxury silks perhapsin the seventh century. Its appearance here intapestry weave, in which repetition saves notime or labor, suggests that a Sasanian-stylepatterned silk served as a model for this earlyIslamic product of Egypt.DWBowlWestern Asia, gth centuryMosaic glassDiam. 52 in. (i4 cm)Rogers Fund, zooI2001.266Textile FragmentEgypt, 8th centuryWool and linen; tapestry weaveH. I158 in. (38.3 cm)Louis E. and Theresa S. Seley PurchaseFund for Islamic Art and Dodge Fund,20002000.668I4This fragmentary textile has visual potencybelying its modest dimensions. Probablyoriginally one of a confronted pair, a hornedram with cameloid mouth and spotted coatstands in the lobed field of a circular roundel.It is likely that the roundel was one of manyarranged in rows against the dark blue groundembellished with off-white scrolling vines.Several features of this fragment are reminiscentof the art of Sasanian Iran producedduring the centuries preceding the Arab conquestof 64I, including the representation ofan animal in a roundel, its fluttering scarf,This work was created in the mosaic techniqueby placing a number of small slices ofglass canes next to one another to form acircle; fusing them into a disk at a high tem-perature; and finally slumping the disk over acurved, bowl-shaped mold. Each slice, cutfrom a long cane created by wrapping glassof different colors around a core, bears thepattern of a central red eye encircled in blackand five red petals set against a yellow ground;the outer ring is of alternating yellow andgreen sections. During fusion the sliced canesbecame partially misshapen, creating a whimsicalcomposition in which colors often runinto one another-with brilliant translucentemerald green coming to life throughtransmitted light.Mosaic glass is also known as millefiori("thousand flowers") after its Venetian "reincarnation."The technique first appeared inEgypt about I400 B.C.; then again in Romeand Alexandria during the second century B.C.;in Islamic Mesopotamia and Syria during theninth century A.D.; and in Venice during thefifteenth century. Probably the longest andmost successful period followed its reappearanceduring the first half of the nineteenthcentury in Venice, whence it spread throughoutEurope, especially to France and toBohemia, where the technique enjoys itsgreatest popularity today.scThe Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

Inlaid BoxIndia (Gujarat), Mughal period, Indo-Portuguese style, late i6th-early I7th centuryTeak, ebony, ivory, and lacL. 13/2 in. (34.3 cm)Cynthia Hazen Polsky and Leon B. PolskyFund, 200ooo2000.301Fine ivory-inlaid furniture and related objects,such as this box, represented an active exportmarket from Mughal India to Europe fromthe late sixteenth century onward. The productionand trade of such furniture from thewestern coast of India was first related todemand in the Ottoman and Persian worlds,largely for mother-of-pearl and ivory settingsin lac, and later was superseded in Europe bya market for inlay in hardwoods.While many Europeanizing elements areevident in the decoration of the box, theidiom of a forest hunting scene is essentiallya Mughal one. Such depictions of the chasefound their ultimate inspiration in Persiancompositions and later became a populargenre in Mughal painting. This box is relatedto a small but distinguished group of ivoryinlaidfurniture-possibly produced in thesame workshop-that includes a cabinet inthe Museu Nacional de Arte Antiga, Lisbon,and a table cabinet in the Cincinnati ArtMuseum. The undulating branches of thebird-filled trees, against which lively figures ofPortuguese hunters and animals have beenset, make the box one of the most expressiveand lyrical pieces of its type.NHI5

Black Stork in a LandscapeIndia (Lucknow), ca. 1780Watercolor on European paper2934 X 21/2 in. (75.6 x 54.6 cm)Louis E. and Theresa S. Seley PurchaseFund for Islamic Art and Rogers Fund,20002000.266fauna,By the late eighteenth century many Mughaltrainedpainters in central and eastern Indiawere looking to the emerging British rulingclass for patronage. The products of this newCompany School were often albums of flora,i6and other exotic sights of India, madeto be taken back to Britain. Of the variedsubjects, bird studies, such as this bold depictionof a sturdy black stork, may be deemed aclassic type. Paintings of birds, animals, andflowers had been an important genre inIndian art since the time of the Mughalemperor Jahangir (r. I605-27), and the continuationof such subjects under Britishpatronage was a natural extension of thatestablished tradition, although the resultswere often quite different stylistically.In this painting the stork is standing uprightin a receding landscape, of considerablyreduced scale, that contains a meanderingriver. The dramatic contrast in size betweenthe bird and the vista it dominates gives thecomposition a distinctively idiosyncraticmood. This effect is also seen in another, similarpage depicting a hawk in a landscape, possiblyfrom the same series, in the BinneyCollection at the San Diego Museum of Art.While the background of the Metropolitan'spicture is rendered in a washy applicationof paint, the bird itself has areas of densecolor and fine brushwork.NH

ME DIEVAL E U ROPECameo with the Fasting of SaintNicholasSouthern Italian, I200-I250Agate with gold frameH. i in. (2.5 cm)Rogers Fund, zooo2000.347Two Scenes of Christ and ApostlesCarolingian (northern France), ca. 850-9ooIvory with traces ofpolychromy31s x 3Ys in. (y.g x 7.8 cm)The Cloisters Collection, zooo2000.486In the age of Charlemagne and his successorsbiblical themes frequently conveyed political,moral, or ecclesiastical messages. This exquisiteivory carving portrays two unusual scenesfocusing on Christ, the apostles, and a mantle.Since Christ traditionally wears only a tunic,he is presumably giving his mantle to anapostle in the presence of others. The episodedoes not seem to conform to a specific Gospel;it probably refers more generally to Christ'scharge to his apostles to continue his ministryby accepting the mantle, or pallium, as anemblem of "apostolic mission" (MatthewIO:I-14). The message may also recall Isaiah(6I:Io), "my soul shall be joyful in my God;for he hath clothed me with the garments ofsalvation ... [and] with the robe of righteousness."A possible political sentimentmay also be conveyed, as when Christ says,"they that wear soft clothing are in kings'houses" (Matthew 11:8). Probably made todecorate the cover of a liturgical manuscript,the ivory has striking narrative power. Thenarrow stage space, flowing groundline, andfleshy figures in garments with soft, curvingedges exemplify some of the main stylistictrends of the second half of the ninth centuryassociated with the court school of Charlesthe Bald (r. 840-77). The school's exactlocation in northern France is debated.CTLCourt artists working for the German andSicilian emperor Frederick II Hohenstaufen(II94-I250) excelled in the creation of exquisitecameos. Here a rare image of a saintdepicts an episode from the infancy of SaintNicholas, in which he refuses his mother'smilk. Seated frontally and wearing a longtunic, she attempts to pull her nude son, whois seated sideways, toward her exposed breast.He refuses by grasping her hand. The themeis one known primarily in a monastic context,where it served as an exemplum forfasting and for abstinence.The pendant must have had a personalsignificance for the owner, perhaps namedNicholas; whether the wearer was an ecclesiasticor a court figure is uncertain. As therelics of Saint Nicholas had resided at Bari,in Apulia, since the eleventh century, theprotection of this important saint would havehad wide appeal in Italy. Carved in a boldbut precise hard-stone style, this is a rareand unrecorded cameo among the works producedin southern Italy during the remarkablereign of Frederick II, who revived antiquetraditions as part of his court culture.CTLI7The Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

Prophet KingJfom a Tree ofJesse WindowGerman (Saxony or Thuringia [possiblyWurzen]), I260-70Pot-metalglass with vitreous paint98s x 98 in. (23.2 x 23.2 cm)The Cloisters Collection, 20002000.406 2000.504This half-length figure of a prophet kingalmost certainly came from a Tree of Jessewindow that incorporated scenes from theInfancy of Christ, four panels of which arenow installed in Falkenstein Castle, in theHarz Mountains near Germany's border withthe Czech Republic. The original locationof the window is uncertain, but it may havecome from the church in Wurzen, east ofLeipzig, in the diocese of Meissen. Althoughthe window appears to have been made in theeastern reaches of Germany (Sachsen-Anhalt),the king depicted is stylistically similar toworks from the Rhineland. The panel is aneloquent and crisp expression of the "zigzag"style (Zackenstil), characterized by sharplyangled and hooked lines, that is a hallmark ofboth manuscript and panel painting in themid- and late thirteenth century; the periodwas heretofore unrepresented in our holdingsof German stained glass. With its strongaffinities to the Aschaffenburg Evangelary(Aschaffenburg, Hofbibliothek ms. 13), thiswork also convincingly underscores the closerelationship between manuscript illumina-tion and glass painting in this period and theconsequent dissemination of styles.TBHCup with Trefoil HandleBohemian (Prague), 3rd quarter ofi4th centuryJasper with silver-gilt mount andfootH. 4 8 in. (o0.4 cm)Purchase, Mrs. Charles Wrightsman Gift,in honor of Annette de la Renta, zoooWith its integrally carved trefoil handle, deepdodecahedral bowl, and massive gilt mounts,this cup is as rare as it is spectacular. Thereare few surviving examples of Western medievallapidary. Indeed, medieval Europeanvessels carved from semiprecious stone areso little known that preserved examples aresometimes mistakenly attributed to the imperialcourts of Rome and Byzantium. Theconfusion is one that would have delightedthe cup's creators.Carved from a material that is immediatelyperceived as precious and exotic, thevessel is a product of the imperial court ofCharles IV (crowned at Rome I355; d. 1378).Its jasper, with characteristic amethyst inclusions,could have been mined only in thefoothills of the Ore Mountains, northwest ofPrague. A sixteenth-century source tells of theemperor's sending men there to search forsemiprecious stones to decorate his cathedraland royal chapel. In recent years geologistshave found traces of their work in abandonedshafts dating to the Middle Ages tuckedinto the mountains near Cibousov. TodayBohemian jasper still sheathes the chapelwalls at Prague Cathedral and at KarlstejnCastle, just outside the city. Often vessels ofthis period have lost their original mounts orhave been embellished by subsequent owners.The Museum's cup, remarkably, retains itsmedieval mount, which bears comparisonto goldsmiths' work created in Prague andpreserved in the cathedral treasury.Giovanni di BalduccioItalian (Tuscany, Bologna, and Milan),active 1I38-49Relief with Saint Peter Martyr andThree DonorsCa. 1340Marble3y2 x 33 8 in. (80 x 86 cm)The Cloisters Collection, 2ooi2001.221BDBTrained in Pisa, Giovanni di Balduccio isnoted for bringing the innovations of Tuscansculptors to northern Italy. With quiet monumentality,this panel depicts the standingimage of the bearded Saint Peter Martyr(d. 1252) wearing Dominican garb. The headwound, his primary attribute, is clearly visiblealong with a (restored) palm of martyrdom inhis right hand. The saint's cloak, held openby his outstretched arms, frames three prayingdonor figures, while he places his handson the heads of the oldest and the youngestof them. This relief is carved in a white fine-grained marble set into a frame of slightlycoarser, grayer marble.The sculpture is one of three marblepanels to survive from a tomb originally inthe Milanese church of Sant'Eustorgio. The

damaged central panel (Castello Sforzesco,Milan) depicts the Enthroned Virgin andChild between two angels, and the relief originallyon the viewer's left (Sant'Eustorgio,Milan) shows Saint John the Baptist with fourkneeling donors in a composition that mirrorsthe Museum's panel, which must havebeen on the right. Details such as the mold-ing beneath the ledge supporting the figuresand the buttons on the undersides of thesleeves suggest that the reliefs were intendedto be above eye level.Pilgrim's Badge Depicting the Shrine ofSaint Thomas Becket at CanterburyCathedralEnglish, 1350-I400PewterH. 3Y8 in. (7.9 cm)Gift of Dr. and Mrs. W. Conte, zooI2001.310PBThe brutal murder of Archbishop ThomasBecket in Canterbury Cathedral on December29, II70, transformed him into one ofthe most venerated saints in Western Christ-endom, and his shrine instantly became a pilgrimagesite. This impressed badge shows theshrine of the martyred saint before it wasplundered by Henry VIII's commissioners inI538. The golden structure, as seen on thebadge, was ordered by Archbishop ThomasLangton and dedicated on July 7, Iz20.Created by the famed goldsmith Walter ofColchester, the tomb, supported on fourbays, contained an effigy of Thomas Becketin ecclesiastical vestments. Here, raised aboveit, is the gabled shrine, encrusted with jewelson a trellislike ground and surmounted bytwo ship models, one of which is damaged. Asmall figure points to a ruby, claimed to bethe largest in existence and given in 1179 bythe king of France. To the right anotheraccuracyfigure raises the cover of the shrine with ropesand a pulley. This badge is one of the bestsurviving visual documents of the shrine. Itsis attested to by descriptions fromambassadors, clergy, and theologians, such asErasmus. The badge is an important additionto our knowledge of the imagery surroundingthis martyr-saint and joins our unrivaledcollection of objects associated with him.CTLI9

Pieta (Vesperbild)Bohemian, ca. 1400LimestoneH. i5 in. (38.1 cm)The Cloisters Collection, zooi2001.78Images of the Virgin with the dead Christreflect late-medieval trends in mysticism thatencouraged a direct emotional response tobiblical stories. Created as an object of privatedevotion, this group is a strikingly pureexpression of the Schine Stil (Beautiful Style),an artistic idiom that emerged at the imperialcourt in Prague at the end of the fourteenthcentury and subsequently resonated in artisticcenters throughout Europe. The sculptorexploited the formal and psychological ten-sions inherent in the composition, combininga precise rendering of detail with a selectivelyabstract treatment of surfaces. Christ's broken,emaciated body, naked except for theloincloth, offers a stark contrast to theVirgin's youthful figure, clad in abundantfolds. The high quality of the execution isevident in such details as the minutely striatedloincloth and head veil; the vital delineationof Christ's arms, in which sinews andveins are visible; and the three intertwinedhands, entirely undercut, on the Virgin's lap.The blending of sensuality and restraint givesthis sculpture immediate emotional appeal.jc20

RENAISSANCE AND BAROQUE EUROPEMaster of the Berswordt AltarGerman (Westphalian), active ca. I400-435 * 1 5The FlagellationCa. i400oTemper andgold on wood22 41 x 168 in. (57.8 x 42.9 cm)Bequest of Hertha Katz, 2ooo002001.2i6.2I_This is one of eighteen scenes thatformed the interior wings of the BielefeldAltarpiece, which was intact in the NeustadterMarienkirche, Bielefeld, until thechurch was restored in about I840. Thecentral panel, a Glorification of the Virginflanked by twelve scenes, is shown to thisday on the church's main altar. As theywere originally displayed, the scenes com-prised an extensive narrative sequence,beginning with the Fall of Man, followedby the lives of the Virgin and of Christ,and concluding with the Last Judgment.The Flagellation joins a Crucifixion, alsofrom the Bielefeld wings, that the Museumpurchased in I943 (acc. no. 43.I6I) andthat would have followed closely upon theFlagellation in the story of the life of Christ.Three other scenes from the interior wingsare preserved in a private collection, Bielefeld,and single panels are in the Oetker Museum,Bielefeld; the Gemaldegalerie, Berlin; and theAshmolean Museum, Oxford.The artist is named after a triptych ofI43I (Marienkirche, Dortmund) that bearsthe coat of arms of the Berswordt family.As seen here, his work reflects the influenceof the better-known German Gothicpainters Master Bertram (active by I367-d. 1414/15) and Conrad von Soest (ca. I360-after 1422) and exemplifies the manneredrefinement of late Gothic painting on theeve of the Renaissance.MSDJI-iI21The Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

Leonardo da VinciItalian, I452-1519Studies for the Movements of Water,Male Nude Unsheathing a Sword, andHercules Holding a Club Seen in FrontalView (recto)Study for Hercules Holding a Club Seenin Rear View (verso)i5o6-8Charcoal or soft black chalk, pen and darkbrown ink (recto); charcoal or soft black chalk(verso); on off-white laidpaper5 s x y52 in. (I3.7 x 14 cm)Purchase, Florence B. Selden Bequestand Rogers Fund, and Promised Gift ofLeon D. and Debra R. Black, 2ooo2000.328a, bMost likely a cropped page from a notebook,this sheet vividly illustrates the parallel pathsof Leonardo's artistic and scientific genius.The recto depicts at the top three sketches ofthe centrifugal swirling movement of wateraround obstacles (probably the thin woodpiers of a bridge). Below are a view of waterflowing by a wood bridge and, to the right, aslender nude man unsheathing a sword. Atthe bottom the classical hero Hercules is seenfrom the front holding a club. On the versoHercules is shown from the rear.The sheet can be dated to I506-8, shortlyafter Leonardo stopped work on the Battle ofAnghiari cartoon and mural for the GreatCouncil Hall of the Palazzo Vecchio, Florence.The drawings of Hercules were apparentlyintended for an unexecuted statue. In representinghim holding the club horizontally,Leonardo reinvented Hercules as an icon ofpreparedness, not unlike the symbolic allusionto civic vigilance evoked in Michelangelo'smonumental marble Davidof I5I-4 (Galleriedell'Accademia, Florence), which at the timewas placed at the entrance of the PalazzoVecchio. Considering the spirited professionalinteraction between the two artistsduring these years, it may well be thatLeonardo conceived of his Hercules with apublic function in mind and in competitionwith Michelangelo's David.CCB22

Hans Holbein the YoungerGerman, 1497/98-1543Saint Thomas1527Pen and black ink, brush and gray wash,heightened with white, on washed-brown paper8x4/8 in. (20.4 x I0.5 cm)Purchase, Pat and John Rosenwald Gift,Rogers Fund, and Gift of Dr. Mortimer D.Sackler, Theresa Sackler and Family, 2ooi2001.188Holbein was one of the most versatile Germanartists to emerge after Diirer's maturity(attained ca. I500oo). Active as a painter anddraftsman, he also produced designs forprints, metalwork, stained glass, and jewelry.This sheet-the first work on paper by Holbeinthe Younger to enter the Museum's collections-belongsto a series of drawings of theapostles in the same size, medium, and technique.In all likelihood they were meant asindependent, finished works. Several, likeSaint Thomas, are dated I527 and thus originatefrom Holbein's first English period,where they form an isolated but striking ex-ample of religious work made at that pointin the artist's career.MCP23

Master i.e.German, active ca. 1480-1500Mary MagdalenCa. I490Engraving8Y2 x 4 in. (21.6x 14.5 cm)Partial and Promised Gift of Goodwin M.and Rose-Helen Breinin, 2ooo2000.634Jan GossaertNetherlandish, 1478-I536The Holy FamilyCa. I510-20Pen and two colors of light brown ink, overremains of black chalk, on vellum6Y x 5 in. (I5.6 x 12.7 cm)Purchase, Eugene V. Thaw Gift, zooI200I.I90Here Gossaert depicted the Holy Family sit- sketchier,ting on a bench next to a tree, of which wecan see only the trunk. The Virgin Marydandles the naked Christ child on her lap ashe turns his head to look at us. Next to them isJoseph, who offers Mary a flower. Gossaertpaid a great deal of attention to the draperyfolds. Their detailed execution and almostsculptural quality are in contrast to the24less-worked-out figures. In thebackground faint lines seem to indicate firstthoughts for a possible architectural setting.The exquisite drawing might have been a preliminarystudy for an unidentified painting orprint. Another possibility might be that thedrawing was meant to be an independentwork, but for an unknown reason the artistleft it unfinished.MCPDespite its apparent simplicity, Mary Magdalenis one of Master i.e.'s most accomplishedworks. He depicted the patron saint of hairdressersand perfumers as a graceful, pensivefigure clothed in an elegant robe, with herhair tied in large braids around her head. Shedelicately grasps her attribute, the jar contain-ing the ointment with which she anointedChrist's feet. The depiction of the saint as asingle figure, removed from any narrativeand standing on a schematically indicatedmound of earth, is related to prints by thegreat fifteenth-century northern Europeanprintmaker Martin Schongauer, but Masteri.e. depicted his saint on a much larger scaleand rendered the costume with an intricatebrocade seldom seen in his teacher's work.We know very little about the author ofthis beautiful engraving. He was most likelyactive in the shop of Martin Schongauer, towhom much of his work is stylistically indebted.Our name for this unknown artist derivesfrom an interpretation of the Gothic initialsthat appear in reverse on an engraving of apeasant holding a sausage (unique impressionin the Kupferstichkabinett, StaatlicheMuseen zu Berlin) and that may or may notbe his monogram; none of the other printsattributed to him is signed.NMOJean Cousin the ElderFrench, ca. i5oo-ca. I560Amya Petitioning Faustusfor theCustody of Saint MamasCa. I543Pen and brown ink, brush and gray wash,with white heightening, over black chalk, onoff-white laidpaper, prepared with brownwatercolor wash9'4 I2Y8 in. (23.5 x 32.1 cm)Inscribed (lower center) in pen and black ink:CarronRogers Fund, zooi200I.106

This recently discovered sheet is a rare workby Jean Cousin the Elder, one of the mostoriginal and appealing artists of the FrenchRenaissance. He was active as a designer oftapestry, stained glass, and book illustrations,as well as of ephemeral festival decorationsfor the French court. Nonetheless, Cousin'soeuvre has proved difficult to reconstruct, asthe majority of his designs are known onlythrough the final products executed by skilledartisans in other media. This is one of a smallnumber of firmly autograph sheets by hishand. It is connected to a set of eight tapestries(three survive) illustrating the life ofSaint Mamas, commissioned in 1543 for thecathedral at Langres.Saint Mamas was an obscure child martyrwho lived in Cappadocia during the thirdcentury. He was born in prison to a motherwho died just after his birth; his father haddied just before it. A local widow, Amya, wasinstructed by a divine vision to petition thegovernor for permission to adopt the child andto give his parents a Christian burial. The losttapestry for which this is a study presumablywould have been the first in the series.PS25

Pompeo della CesaItalian, active ca. 1565-i600Portions of an Armor for Vincenzo Luigidi Capua, Prince ofRicciaMilan, ca. I595Steel, gold, leather, and brassH. I9 in. (48 cm)Purchase, Arthur Ochs Sulzberger Gift,200I2001.72Italian armor making in the last quarter ofthe sixteenth century was dominated byPompeo della Cesa, armorer to the Spanishcourt in Milan. His richly decorated harnesseswere coveted by Philip II of Spain, theruling dukes of Savoy, Parma, and Mantua,and the scions of the leading Spanish andItalian families. Pompeo was one of the fewarmorers who regularly signed his pieces, areflection of his pride of workmanship andhis elevated status in the world of militaryalta moda.Vincenzo Luigi di Capua (d. 1627), princeof Riccia, belonged to an ancient Neapolitanfamily. Don Vincenzo's armor, made shortlyafter he succeeded to his noble titles in 1594,exemplifies Pompeo's best work. The surfacesare covered with closely set vertical bandsetched with trophies of arms, religious andallegorical figures, and grotesques, all partlygilt. The owner's emblem, or impresa, appearsat the top of the breastplate-a radiant sunwith a crown above and a motto below,NVLLA QVIES ALIBI (No repose but here);Pompeo's name is etched beneath. Nowincomplete, the half-length infantry armororiginally included an open-faced helmetand arm defenses. The matching backplateis preserved in Warwick Castle, England.SWPDetail27

Jacques CallotFrench, I592-1635Study of a HorseCa. 1616Quill and reedpen and iron gall ink on offwhitelaidpaper; evidence of leadpoint orgraphite tracing of standing horse on recto934 x 114 in. (2.5 x 28.6 cm)Promised Gift of Mr. and Mrs. David M.Tobey, and Purchase, Mr. and Mrs. DavidM. Tobey Gift, zooo2000.253a, bThis two-sided sheet is part of a group ofspirited studies of horses made during Callot'ssojourn (ca. 1612-21) at the Medici court inFlorence. Youthful works, they take theirinspiration from a series of etchings byAntonio Tempesta, Cavalli di differentipaesi, published in Rome in I590. Unlike themajority of Callot's extant drawings, theywere not directly preparatory for prints butpresumably remained in the artist's studioas a resource for his later work.The subject matter of Callot's vast corpusof prints was far-ranging, offering a view intolife in the seventeenth-century duchy ofLorraine-from the pomp of court pageantsto the miseries of war. Depictions of horseswere central to images of both celebrationsand battles. Callot's studies explore not onlyequine anatomy but also the potential ofdrawing to imbue a two-dimensional imagewith a living, breathing vitality-a remarkableachievement when one realizes thathe worked not from life but from the morestatic medium of prints. Exploiting thespeed of the pen and the organic swellingand tapering of the ink line, Callot createdan effective analogy to the power and graceof this majestic animal, so important toseventeenth-century life.Scarsellino (Ippolito Scarsella)Italian (Ferrarese), ca. I550-I620The Virgin Adored by SaintsCa. 1609Oil on copper19g4 X 29'4 in. (48.9 x 74.3 cm)Gift of Mary Jane Harris, in memory ofMorton B. Harris and in honor of KeithChristiansen, 2ooi2001.417PS28

This beautifully preserved picture shows theVirgin bestowing the scapular-a small pieceof cloth symbolic of one's having taken onthe "yoke of Christ"-upon a saint, presumablySimon Stock, the thirteenth-centuryEnglish Carmelite friar who had a vision ofthis occurrence. Two donors kneel in the leftmiddle distance with Saint Anthony ofPadua. Among those also present are SaintsCatherine of Siena; Dominic, accompaniedby a dog holding a long taper in its mouth;Nicholas of Tolentino; Francis of Assisi,preaching to birds on the nearby bluff; andRaymond of Penaforte, sailing across the seaon a billowing banner. The Feast of theScapular was established in I609, and thepicture must date to about that time.Though underappreciated today, Scarsellinowas admired by his contemporaries. GiulioMancini-that extraordinary physician anddilettante whose writings are so important forthe study of seventeenth-century paintingconsideredhim "among the best living mastersin Italy." Scarsellino owed the color andrefined nature 'ism of his paintings largely toPaolo Veronese, with whom he worked inVenice. This picture seems also to demonstratehis awareness of the innovations of theCarracci in Bologna.KCJan Brueghel the ElderFlemish, 1568-1625Landscape with Travelers on aWoodland RoadCa. i60o5-oOil on copper33 x 6 in. (.5 x 15.2 cm)Bequest of Hertha Katz, 200ooo2001.216.IIn the early I6oos Jan Brueghel was one ofthe most inventive masters of landscapepainting in the Netherlands. The Antwerpartist had the considerable advantage of followingin his famous father's footsteps; PieterBruegel the Elder, who died when Jan wasone year old, passed on his vision of naturemainly through drawings. Jan himselfsketched numerous studies of forests, fields,rivers, ordinary figures, and animals, as is evidentfrom the few drawings by him in theMuseum's collection.Collectors in cities such as Antwerp,Frankfurt, Prague, and Rome embraced thelatest examples of close observation, whetherof flowers (in which Brueghel also excelled)or of extensive terrain, not only for theirempirical approach but also as marvels ofartistic invention and skill. It is in the contextof discerning connoisseurship that Brueghel'sminiature cabinet pictures may be best appreciated.A patron such as Brueghel's devotedsupporter Cardinal Federigo Borromeo wouldhave noted that the artist's subtle powers ofdescription, as found in the Museum's comparativelylarge panel of I6o7, A WoodlandRoad with Travelers (acc. no. 1974.293), seemunimpeded by concentration on a smallscale. In this diminutive picture the endlessflow of life in the Flemish countryside appearsreproduced in microcosm.WL29

Peter Paul Rubens Charles Beale II Charles Beale II's remarkable red-chalk stud-Flemish, I577-1640 British, i66o-1714 ies of family members and friends, althoughA Sermon in a Village Church Carter, the Colorman not intended for a public audience, compriseI63os Red chalk, heightened with touches of black his most distinguished legacy. Beale's intimateBlack chalk, brush and brown-red ink, chalk, on paper subjects-compelling for their immediacywatercolor, andgouache on paper o104 X 8 in. (26x 20.3 cm) and for their vigorous cross-hatching inI658 x 22/2 in. (42.2 X 57.3 cm)Purchase, Charles and Jessie Price Gift,Harris Brisbane Dick Fund, 2000 20012000.483 2001.I21With great facility and virtuosity Rubensdepicted what appears to be a straightforwardgenre scene of a village sermon. A congregationof farmers and peasants-men on theleft and women on the right-listens withvarying degrees of attentiveness to a sermonoffered by a potbellied minister standing in apulpit. It has been suggested that the drawingrepresents a gathering on Rubens's estate inFlanders and that the congregation may bemade up, at least in part, of his employees atthe Chateau de Steen. In the I63os Rubenspainted and drew peasants much more oftenthan before, probably deliberately pursuingPieter Bruegel the Elder's tradition ofpeasant depictions.MCP30

waxy red chalk strengthened with black chalkand graphite-are virtually unique in Britishart of the late Stuart period and rank amongits finest achievements. The present sheetonce belonged to a sketchbook (BritishMuseum, London) that is inscribed on theflyleaf, "Charles Beales 3d Book, i680." Itdepicts a certain Carter (active I680-I742), apurveyor of artists' materials, whom Bealedrew on several occasions. Here the artistcontrasts the tight, incisive strokes of red chalkthat describe the contours of the young man'shead to the more loosely sketched cravat andshirt, which appear to melt into the expansivewhite sheet.EEBLeonhard KernGerman, I588-1662The DepositionCa. 1640-50AlabasterH. I2 Y in. (32.7 cm)Signed (lower left) with monogramPurchase, 2ooo Benefit Fund, 2ooo2000.283Despite the ravages of the Thirty Years' War,Leonhard Kern's shop in Schwabisch Hallflourished, producing statuettes and smallreliefs of high quality in boxwood, ivory, andalabaster. This output extended the preceptsof Renaissance art well into the seventeenthcentury, thanks to Kern's memories of hisstudy in Italy (1609-I2) and his emulationof famous Italian masters such as GiovanniBologna. To the latter he may owe the V-shaped cleft in the mountains that part in thisscene to reveal Jerusalem and enframe theHoly Women (above center), as well as therectilinear cluster of figures at right thatincludes Joseph of Arimathea, carrying astack of linens and directing the preparationof Christ's body for burial. Yet these are notstrict quotations, and the design, characteris-tically for Kern, is full of original touches,especially the angel at center-rare to thisepisode-who serves as intermediary betweenGod and man and whose wings greatlyactivate the composition.JDD31

EUROPEE 1700 0 1900urni ii - _,.Decorative EwerPossibly Flemish, Ist half of i8th centuryAlder woodILhii~~~~~~~~~~~~' e~~H.A {1i S -,1 l _snl ,- 9 - W 1 R X33 in. (85.1 cm)Purchase, Friends of European Sculptureand Decorative Arts Gifts, 2ooo2000.492Dil. A:EComposedof several pieces of alder wood,this highly inventive ewer, with its slenderneck, double handle, and exuberant spout,is a marvel of virtuoso carving. Followingthe tradition of designs for ornamentalvases by seventeenth-century artists such asthe French engraver Jean le Pautre and theNetherlandish engraver Claes Jansz. Visscher,the ewer's profile is enveloped by a multi-plicity of decorative elements. The putti,garlands of fruit and flowers, and large sinu-ous foliage recall the spirited and fluid styleof Flemish carving as expressed in elaboratesculpted pulpits and the balustrades of grandstaircases. The reclining figure in the center(detail), crowned with vines, and his femalecompanion may well be Bacchus, god ofwine, and Ceres, goddess of agriculture,while the playful putti on the sides mayallude to Venus. If so, the ewer could illustratethe saying "Sine Cerere et Baccho, frigetVenus," implying that without food anddrink, love is left out in the cold. The ewerhas not yet yielded all its secrets: Was it, forinstance, part of a larger decorative ensemblefor a stately dining room, or perhaps a modelto be executed in silver? Also, the identity ofHenricus Ioseph W [ . . inscribed in inkunderneath the base, is not known.DK-GDetail32The Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

JugFrench (Saint-Cloud), ca. 1730-35Soft-paste porcelainH. 32 in. (8.9 cm)The Charles E. Sampson Memorial Fund,2000zooo.174 2000.174Soft-paste porcelain was first produced com-mercially in France in the I69os at a faiencefactory in Saint-Cloud, a small town west ofParis. The factory began by copying porcelainsimported from China, but it soon developedits own distinctive style, which wasentirely French in character. Much of the factory'sproduction concentrated upon waresdecorated with complex patterns painted in adeep cobalt blue. However, in the I720S itbegan experimenting with ground colors,notably green and yellow. The overglaze yellowground, derived from Chinese ceramics,proved difficult to master technically, andsurviving examples of it are rare.This small jug, which probably dates tothe early I730s, displays the difficulties thatthe factory was still experiencing at that timewith the yellow ground. The color is unevenin thickness and has bonded poorly to theporcelain body in numerous places. Despiteits flaws, the jug must have been perceivedas highly original when it was produced.The use of European flowers scattered on aChinese-style yellow ground resulted in a typeof decoration that was completely novel inContinental porcelain.Tobacco Pipe with Original CaseSouth German, ca. I740Silver, antler, horn, and leatherL. (pipe) I5 8 in. (39.2 cm)Purchase, Rogers Fund, and Bequest ofIrwin Untermyer and funds from variousdonors, by exchange, zoo00200o.353a-CThe deformed, roselike base of a roebuckantler was mounted in silver to form thispipe's bowl. Remarkable is the use of theY-shaped prong finial that teasingly evokessmoke coming out of the perforated silver lid.The arched silver tube decorated with appliedantler was inspired by an oriental hookah.The bowl's exotic appearance resembles theornamental Chinese scholars' rocks and theflamboyant rock formations found in Chinesegardens, both widely admired in the West. Thesilver rocaille mounts echo and complementthe antler deformations, thus exemplifyingthe interplay of art and nature. In eighteenthcenturyEurope the hunting of stags was astrongly guarded, aristocratic privilege. There-fore this sublime oddity was most likely madefor a princely curiosity cabinet (Kunstkammer),a room where such objects could be handledand studied from every angle.Tobacco was considered to have aphrodisiacpowers, and pulverized stag horn was thoughtto enhance strength. These attributestogetherwith the shell shape of the bowl'ssilver bottom, which refers to Venus, thegoddess of love-could offer opportunitiesfor initiating provocative conversations. Thepipe is a Rococo document par excellence,both for its taste of the bizarre and for themounting of highly treasured natural substanceswith precious metal.WK33

Benedetto PistrucciItalian, 1783-1855Proof Sovereigns of George IIIBritish (London, Royal Mint), 1817 and I82oGoldDiam. (each) 8 in. (2.2 cm)Gift of Assunta Sommella Peluso, AdaPeluso, and Romano I. Peluso, in memoryof Ignazio Peluso, zooo2000.224.4, .5Sir Joshua ReynoldsBritish, 1723-1792Study of a Woman and ChildBlack chalk on off-white laidpapero0/2 X 74 in. (26.6x 18.3 cm)Purchase, several members of TheChairman's Council Gifts, zooo2000.285andReynolds-the first president of the RoyalAcademy, an influential theoretician of art,and a prominent collector-was the leadingBritish portraitist of the late eighteenth century.This study is not related to any knownpainting, but the canonical arrangement ofthe figures (here alluding to the Madonnachild) and the elegant, classicizingstyle (evidently inspired by the example ofMichelangelo) are characteristic of Reynolds'smost accomplished Grand Manner portraitsof the I770s. He may have presented thesheet directly to its earliest recorded owner,the first earl of Warwick, an importantpatron for whom Reynolds prepared at leastseven portraits.Distinguished by its fluent and incisivequality of line, Study of a Woman and Childranks among the finest figure drawings byReynolds and complements the Museum'seleven portraits by the artist and a sketchbookfrom his Italian journey of I750-52.EEBThe Metropolitan has not been known historicallyfor collecting coins, but the Pelusofamily's gift of British coinage is a worthyaddition for its revelations of high artistry.Benedetto Pistrucci began his career inRome, carving cameos with amazing dexter-ity. Soon after his arrival in London in I815,he became chief engraver at the Royal Mint.The coins of George III (r. I760-I820) areamong the most elegant ever created. (Theobverse of one specimen and the reverse ofanother are illustrated.) The gold sovereign'sobverse succinctly invests the fat, ancientmonarch with authority, while the reverse,with Saint George and the Dragon encircledin the Order of the Garter, is so successful inits clarity that it has been repeated (minusthe Order) on the specie of most succeedingBritish monarchs.JDD34

Richard Parkes BoningtonBritish, 1802-1828View near RouenCa. 1825Oil on millboardr1 x i3 in. (27.9 x 3 cm)Purchase, Gift of Joanne Toor Cummings,by exchange, 200oo200. 45Although Bonington was born in England,he moved to France with his parents in I818and enrolled in the Paris studio of BaronGros in 1820. His painting thus belongs tothe history of French art. In fact, his worksrank among the most rare and beautiful ofearly French Romanticism: rare becauseBonington died just days before his twentysixthbirthday; beautiful because of theimmediacy of his vision, the freshness of hiscolor, and the confidence of his technique.These qualities are perfectly expressed in thissmall view near Rouen, which was paintedoutdoors, from an island in the midst of theSeine. It was probably made in the summerof I825 while Bonington, who had alreadyearned a medal at the previous year's Salon,was sharing a studio in Paris with EugeneDelacroix. Bonington's death in i828 wasmourned by a generation of French painters,including Delacroix, Theodore Rousseau,and Camille Corot, for whom Bonington wasa conduit of the English notion of naturalisticand painterly landscape.This picture was purchased from the directdescendant of its first owner; it is impeccablypreserved and still has its original frame.GT35

century and the glamorous Hortense, who wasa niece of Cardinal Mazarin. The plaster modelfor this bust is not among the trove of those byDantan in the Musee Carnavalet, Paris.JDDPierre-Jean David d'AngersFrench, 1788-1856WY 1 111 Jeremy BenthamIk 111 II m ~~~Modeledca. 183o; cast by Richard Eck etDurand before 1844BronzeDiam. 6Y4 in. (r7.r cm)Gift of Joseph G. Reinis, 2ooo200ooo.455.2A ,il~Ch~1donorLAThe French Romantic sculptor David d'Angerswas as fascinated by phrenology as Dantan was(see below left), but he disdained caricature.He modeled 454 identifiable portrait medal-lions, all with a sweeping earnestness in keepingwith their subjects' greatness. They recalla period in Europe remarkable for its internationalism,including, as they do, spirits asdiverse as Goethe, James Fenimore Cooper,and here the venerable English jurist andphilosopher Jeremy Bentham (I748--I832),who was much admired in France. Theis the author of the standard workThe Portrait Medallions ofDavid dAngers(New York, I999).JDDJean-Pierre DantanFrench, 1800-1869Bust ofa Young WomanSigned and dated 1836MarbleH. (including base) 29'2 in. (74.eP cm)Gift of Michael Hall, in memory ofW. R. Valentiner, 2ooo2000.630.2c iDantan mixed Neoclassical training withinterests in caricature, phrenology, and fashionablesociety. Today he is best known as acaricaturist, although straightforward portraitscomprise at least half of his output.Occasionally, they may have a mischievousundertone, but this young woman has anappreciable semblance of wit and sparkle,even as she flaunts the latest coiffure. Dubbed"a la Hortense Mancini," the style was viewedas revivalistic, harking back to the seventeenth36

Conrad GrafAustrian, 1782-1851FortepianoVienna, 1838Walnut veneer, various woods, iron and brassstrings, leather, and clothL. 93/4 in. (236.8 cm)Purchase, Amati Gifts, in memory ofFrederick P. Rose, zooi2001.272One of the preeminent fortepiano makersof his day, Conrad Graf was the recipientof a gold medal at the I835 Austrian IndustrialProducts Exhibition. His instrumentswere owned and played by leading pianistsand composers, including Beethoven, Czerny,Schubert, Schumann, Kalkbrenner, Mendelssohn,Chopin, Liszt, and Brahms, as wellas by such notables as the archduke and archduchessof Austria, the empress of Russia, thequeen of Saxony, and the poet Goethe.The nameplate of this fortepiano reads"CONRAD GRAF / kaiserl: kn : hof-fortepianomacher/ Wien / nachst der Carls-Kirche im Mondschein N?. Io2." Grafworked at that address from I826 until hisretirement in 1842.The six-and-one-half-octave instrumentfeatures a Viennese action, which provides alight, shallow touch and enables the player toexecute runs and ornaments with great facility.The stringing is considerably thinner andunder less tension than that in the modernpiano; this provides less volume but a brightertimbre, which in its day was likened to thatof a fine wind instrument. The case is constructedalmost entirely of wood (there is nometal frame, as in the modern piano). Thereare four pedals controlling the dampers, twomoderators, and a keyboard shift.ssPHenri ChapuFrench, 1833-1891MusicCa. 1869TerracottaDiam. I258 in. (32 cm)Inscribed: au docteur Delechamps; signed:ChapuPurchase, Mrs. Sid R. Bass Gift, in honorof Mrs. Charles Wrightsman, and RogersFund, 2ooi2001.4Chapu was a Second Empire sculptor withrare lyric gifts. His young winged geniusbows the violin before a cityscape that representsThebes, the walls of which were said tohave been raised to the strains of a lyre playedby Amphion, the diminutive figure seated atright. The imagery thus unites the harmoniesof music and architecture. This terracotta isthe model for one of six silvered-bronzereliefs, allegories of the arts, that were destinedfor the drawing room of a house builtby Chapu's architect friend Paul Sedille.Located in Paris on the boulevard Magenta,it was completed in I870.JDD37

necessary, in favor of an imposing effect ...[and] poetic charm." This photograph of astreet in Negre's hometown combines thebroad patches of light and dark characteristicof early paper-negative photographs with arigorously geometric structure; the wholecomposition is enlivened by carefully placeddetails, such as the young man seated onthe hillside--somewhat improbably--as ifleaning against the left edge of the picture.MDJean-Baptiste CarpeauxFrench, I827-I875PiethCa. 1864TerracottaH. rr2 in. (209.1 cm)Bearing the wax seal of the atelierPurchase, Assunta Sommella Peluso,Ada Peluso, and Romano I. Peluso Gift,in memory of Ignazio Peluso, 20012oo00. 99Charles Negre _ .French, 1820--i880!A Street in Grasse1852Saltedpaperprintfrom paper negative ,13 x 9Y8in. (32.9 X 23.8 cm)Purchase, Jennifer and Joseph Duke Giftand several members of The Chairman'sCouncil Gifts, 2000zooo2000.286Born in the Provencal town of Grasse in1820o, Negre moved to Paris at nineteen tostudy painting in the studio of Paul Delarocheand arrived in the capital just a few monthsafter the public announcement of the inventionof photography. He began makingdaguerreotypes in the mid-I84os, but onlywith the ascendancy of paper negatives andprints around I85o did he fully embracephotography, first as an aid to his paintingand later as documentation and art.After a photographic excursion to the southC'T-r ? n 1 ,1or Jrance in ' August I152, wnen tis picture'B a ~was made, Negre wrote: "Being a painter my-self, I have kept painters in mind. Wherever Icould dispense with architectural precisionI have indulged in the picturesque; in whichcase I have sacrificed a few details, when38i

Carpeaux demonstrates here an enduringadmiration for the plangent heroism ofMichelangelo, evinced earlier in the famousUgolino and His Sons, conceived during hisstudy years in Rome. (The marble, finishedin I867, is now owned by the MetropolitanMuseum; acc. no. 67.250.) The governmentof Napoleon III kept Carpeaux busy withofficial projects, decorative sculpture, andportraiture, but it is clear from the evidenceof the occasional private moments when hesketched sacred subjects, such as this group,that he would have been one of the mostpowerful of all religious artists had he beenfreer to exercise this repertory. Mounding theclay pellets and pressing them into shape inmere seconds, Carpeaux focused his entireattention upon the Virgin Mary's maternalembrace, to the virtual exclusion of Christ'slegs. A related drawing in the Musee desBeaux-Arts, Valenciennes, is dated 1864.Christopher Dresser (designer)English, 1834-I904Hukin and Heath (manufacturer)JDDEnglish (Birmingham)Traveling Tea SetCa. I879Gilt and silver-plated white metal (electroplate)and woven bamboo; case of leather-coveredwood with velvet and glazed-cotton liningsH. (teakettle) 48 in. (ii.i cm)Partial and Promised Gift of anAnonymous Donor, in memory ofWalter E. Stait, zooo2000.594.1-.5FrancoisThis tea set was designed after his return.The small pieces that fit inside the two largeones reflect the Japanese love of stacking boxesand conserving space. The woven bamboo onthe handle is also Eastern in derivation. It isin his new interest in form, rather than pattern,that the influence of Dresser's Japaneseexperience is most noticeable. The shapesevoke ones readily encountered in Japan inwood or in a metal such as iron. The set waspopular and produced in both sterling andelectroplate for at least a decade.BonvinFrench, I817-I888A Woman Spinning WoolCharcoal on laidpaper158 x I 58 in. (40.3 x 29.5 cm)Signed and dated (lower left): f. Bonvin, I86IWatermark: VanderLey (with putto on sphere)Gift of Lila and Herman Shickman, zooo2000. I5Bonvin believed art should express the truthsof everyday life by including humble subjectsand routine activities. Seeking to emphasizethe simplicity and timelessness of what hissitters were doing, rather than who they were,he often portrayed women with their headsquietly bowed to domestic chores, such asknitting, grinding coffee, playing the piano,slicing bread, shucking oysters, or, as is seenhere, twisting wool from a spindle into yarn.By virtue of its subject, composition, technique,and size, our new drawing is nowthe most significant work by Bonvin in theMuseum's collection, which also includes anearly graphite work, a watercolor, and fiveetchings. The woman is one of four spinnersdrawn and etched by the artist between I856and I86I. An austere image, suffused withdusky, poetic light, it typifies Bonvin's best,mature work, which evolved from his studyof seventeenth- and eighteenth-centurypainters, particularly Chardin. cIAlthough trained at the London School ofDesign, Dresser pursued a career in botanyand obtained a Ph.D. from the University ofJena at twenty-six. Failing to become professorof botany at University College, London,he turned to designing mass-produced householdwares, including carpets, silver, glass,furniture, metalwork, and wallpaper.Dresser was impressed by the Japaneseexhibits at the 1862 Paris Exposition Universelleand visited Japan in I877. In his semiofficialcapacity representing British manufacturers,he was accorded favored status to travel andto study decorative-arts production. HisJapan: Its Architecture, Art, andArt Manufactures(London and New York, 1882) recordshis visit.39

Henri Fantin-LatourFrench, I836-I904Asters and Fruit on a Tablei868Oil on canvas22 V x 21 s in. (56.8 x 54.9 cm)The Walter H. and Leonore AnnenbergCollection, Partial Gift of Walter H. andLeonore Annenberg, zooi2001.202.3Writing in I863, the critic Zachary Astrucpraised Fantin-Latour's flower paintings as"marvels of color and artistic sensibility ...as compelling as they are charming. They aretonal rhythms, freshness, abandon, surprisingvivacity." Such qualities are handsomelyexemplified in this picture, painted five yearslater. Fantin-Latour's reliance on a simplecompositional scheme-in his own words,"flowers in the middle and fruit aroundthem"-proved a successful strategy. Here avase of China asters, placed on the verticalaxis and flanked by a plate of grapes and agrouping of autumn fruits, serves as a foil forthe play of resonant color and inventivesurface effects. An overall sense of vitalityis created by the restless, animate quality ofbrushwork and by the application of paintin a spare, dry manner that makes use of theinterstices between the strokes. By varyingthe texture and density of pigment, Fantin-Latour evoked the translucent quality ofthe vase, the veneer of the light-dappledmahogany tabletop, and the lushness of ripefruit and freshly picked flowers. Moreover,by retaining the spirit of his pochades (quickstudies from nature) and his moody, introspectiveself-portraits, Fantin-Latour succeededin producing a still life of originality anddistinction.SAS40

Henri Fantin-LatourFrench, I836-I904Roses and Liliesi888Oil on canvas23 /2 x 8 in. (5.7 x 45.7 cm)The Walter H. and Leonore AnnenbergCollection, Partial Gift of Walter H. andLeonore Annenberg, 200oo2001.202.4The summer Fantin-Latour made Roses andLilies he claimed to be "very tired" of paintingflowers. The admission is not surprisingfor an artist who had spent the previousthirty years producing still lifes expressly foran English market, but it is difficult to reconcilewith the present work, originally ownedby Fantin-Latour's patron and dealer, RuthEdwards. One would be hard-pressed to findsigns of fatigue or slackening of artistic sensibilityin this splendid arrangement, deftlypainted with sprightly flourishes of color,ranging from unexpected highlights of blueto creamy whites faintly dusted with mauveand yellow. Fantin-Latour's signature roses,in full bloom in a rounded bowl, serve as aperfect counterpoint to the long, gracefulstems of white lilies in a tall glass vase. Here,with unerring sensitivity, he perceived thenature of flowers "not with the enlarginglens" of the botanist-to quote James McNeillWhistler-"but the light of one who sees inthe choice selection of brilliant tones and delicatetints future harmonies." At age fifty-twoFantin-Latour admirably met the challengeprescribed by the American artist three yearsearlier in his famous "Ten O'Clock" lecture.SAS4I

Claude MonetFrench, 1840-I926Poppy Field, ArgenteuilI875Oil on canvas21I4 X 29 in. (54 x 73.7 cm)The Walter H. and Leonore AnnenbergCollection, Partial Gift of Walter H. andLeonore Annenberg, zooi200I.202.5The year I875 marked a difficult momentfor Monet. Sales of his work, and thus hisincome, were down significantly from thepreceding years. The group of friends whohad organized the first Impressionist exhibitionof 1874 could not agree on the termsof a second exhibition, and the March I875auction that was held instead produced poorprices. Yet Monet pressed forward, continuingto paint pictures remarkable for theircalm beauty and intimation of life unencumberedby worry. In his views of Argenteuildays are always sunny, poppies bloom continuously,children cavort freely, and ladies havenothing more pressing to do than to strollwith their parasols. In this respect his work of42the mid-I87os resembles that of CamilleCorot, who died in February 1875. Like Corotat Ville-d'Avray, Monet chose motifs close tohome-and improved on them.This beautiful, archetypal Impressionistlandscape betrays neither Monet's personalconcerns nor those of the town of Argenteuil.Little could the viewer have realized that theplain of Gennevilliers, depicted here, hadbecome a dumping ground for Parisian effluent.We must recognize, then, that Monet'spainting was an act of consolation (for himself)and reassurance (for his prospective patrons)that nature and simple pleasures would endure.Hilaire-Germain-Edgar DegasFrench, I834-I917DancerCa. i880Pastel, charcoal, and chalk on paper1934 x I2/2 in. (48.9 x 31.8 cm)The Walter H. and Leonore AnnenbergCollection, Partial Gift of Walter H. andLeonore Annenberg, zooi2001.202.2GTDegas frequently drew from models, andsome of the dancers who posed for him, suchas Nelly Franklin and Marie van Goethem,are now better known for that role than fortheir dancing skills. However, Degas trans-formed these real dancers into a fictive ballettroupe that rehearsed constantly in his imaginationand performed only in his pictures.For this fine pastel Degas selected a gesture-theadjustment of a sash and skirtthathe had included in a number of picturesand made it the central event in a new work.Although he had doubtless observed dancersadjusting their costumes during his visits tothe foyer de la danse, it is unlikely that he hadever seen this particular scene in a rehearsal.Dancers did not wear sashes-or neck ribbons,for that matter-during practice, andonly rarely on stage. But the sashes were crucialto Degas because they enabled him tobring bright splashes of color to a scene thatwould otherwise have tended toward thedrab. This pastel, then, is not a study fromlife, although a model may have posed for theartist. Instead, it is a completely artificial, andartfully convincing, representation: a slice ofart rather than a slice of life.GT

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Paul GauguinFrench, 1848-ipo3The Artist's Portfolio, Pont-Aven1894Watercolor and gouache over charcoal, on heavygray wove (blotting) paper, mounted to insidecovers; leather binding inscribed in pen and inkwith additions in watercolor; multicolored silkribbons stitched into bindingEach drawing I614 x o0% in. (42.5 X 26.4 cm)Signed in brush and wash (left-hand drawing,lower left): PGO 94Promised Gift of Leon D. and Debra R.Black, and Purchase, Joseph Pulitzer andFlorence B. Selden Bequests, and 1999Benefit Fund, zooo2000.25544

When Gauguin returned to France after hisfirst trip to Tahiti, he headed to the picturesquevillage of Pont-Aven, on the Bretoncoast, in the hope of recapturing the exhilarationhe had experienced while painting therein previous years. Unfortunately, on this visithis activity was restricted by a fractured leg hesuffered in a brawl with sailors. Thus, insteadof standing before his easel, the artist spentmuch of his time seated, creating works onpaper, many of which are likely to have beenstored in this portfolio. The watercolors hedrew on its inside covers, probably duringthe summer of 1894, recall subjects Gauguinhad treated before in Brittany: the rollinglandscape, serpentine waterways, and simpleproducts of country life.The mock-heroic presentation of thisportfolio to the safekeeping of the innkeeperMarie-Jeanne Gloanec-as formally set forthin writing on its front cover-may have constitutedthe grand finale to a bibulous eveningGauguin spent with his artist cronies RodericO'Conor, Eric Forbes-Robertson, and ArmandSeguin, whose names are inscribed in thededication. This extraordinary work, surelyone of Gauguin's most appealing excursionsinto the decorative arts, remained virtuallyunknown until recently.CIHilaire-Germain-Edgar DegasFrench, 1834-1917Paule Gobillard, Jeannie Gobillard,Julie Manet, and Genevieve MallarmeDecember I6, 1895Gelatin silver printIIs8 X 15/4 in. (28.4 x 38.9 cm)Gift of Paul F. Walter, zooo2000.655.After making the majority of his paintingsand experimenting with pastel and monotype,Degas briefly turned to photography in lateI895. Friends described him as "ablaze withenthusiasm" as he enlisted them as models andappropriated their living rooms as his afterdinnerphotographic studio. Both the activityand the resulting images bound Degas to hiscircle of close friends and brought comfort inthe evening hours, when he otherwise dwelledon his own mortality and the recent deaths ofhis brother Achille and sister Marguerite.One December evening, in the companyof Auguste Renoir and Stephane Mallarme,Degas photographed Mallarme's daughterGenevieve and "the little Manet girls"-JulieManet (the seventeen-year-old daughter ofBerthe Morisot and Edouard Manet's brotherEugene) and her cousins Paule and JeannieGobillard, all three of them orphans whomthe elder artists had taken under their wing.Sitting before Degas, whose camera is reflectedin the mirror, the young women are joined toone another by the continuous blackness oftheir dresses, a backdrop for the gentle rhythmof their hands.Degas never exhibited his photographs publicly,preferring instead to keep them a part ofthe private realm in which they were made; hegave this tender picture to Julie Manet.MD45

Emile DecoeurFrench, 1876-1953Edmond LachenalFrench, 1855-1948VaseChatillon-sous-Bagneux, ca. 900oo-905Glazed stonewareH. io34 in. (27.3 cm)The Charles E. Sampson Memorial Fund,20012001.92Courtois and MilleFrench (Paris), i88o-98Valve TrumpetCa. i88i-85Silver-plated brass; original wood caseL. 2oY2 in. (52.1 cm)Purchase, Bequest of Robert AlonzoLehman, by exchange, 200oo2001.187a-iStoneware was the preferred medium formany ceramic artists working in France inthe decades around I900. It is more durablethan earthenware and easier to form thanporcelain, which is far less pliable. Furthermore,the temperatures at which stonewareis fired allow for spectacular glazing effects.Edmond Lachenal and his pupil Emile Decoeurwere two of the many French ceramicists wholearned to exploit the somewhat random andunpredictable qualities of stoneware glazes,which can produce highly mottled surfaces withpronounced variations in color and texture.The complex and seemingly uncontrolledaspects of many of these glazes made themparticularly appropriate for vessels in the ArtNouveau style, such as this example, inwhich naturalistic forms and asymmetriesoften prevailed. In this vase, probably byAntoine Courtois fils (active 1844-80) wasone of the leading Paris manufacturers ofcornets a pistons and orchestral trumpets.After i880, when Auguste Mille (1838-I898)took over the workshop of about twenty-fiveemployees, the company maintained itshigh reputation. This so-called low trumpet,pitched in F with exchangeable terminalcrooks for the keys E, E-flat, D, C, and B-flat (A), is equipped with Perinet valves. Itis a fine, typical example of a French trumpetof the period I86o to 1920. This instrumentis the type on which students were taught atthe Paris conservatory and that was played inFrench orchestras of the era between Bizet(d. I875) and Debussy (d. I918). About 1920the high B-flat trumpet, already in use inother countries, replaced this type in France.As the engraving on the bell indicates, thetrumpet came to the United States throughthe company's American agent, John HowardFoote, in New York. It was not used verymuch, probably because in the United Statesthe B-flat trumpet had already replaced thelow trumpet by about I900.HH46

Decoeur, the organic quality imparted by thesinuous, tendril-like handles is reinforced bythe richly mottled glaze, in which purplesmerge into grays of varying intensity. Despitethe subtle sculptural quality of the vase,the glaze rather than the form creates theprimary aesthetic impact.JHMEdouard VuillardFrench, i868-1940Album1895Oil on canvas26% x 80/2 in. (67.9 x 204.5 cm)The Walter H. and Leonore AnnenbergCollection, Partial Gift of Walter H. andLeonore Annenberg, 200ooo2000.93.2In I895 Thadee and Misia Natanson commissionedfrom Vuillard a series of five decorativepanels. Collectively known as Album,they took the title of the largest of the paintings,in which a portfolio or album is thecenter of attention.Languid women suspended in sumptuous,flower-filled interiors are the subject of allfive paintings, which are of various sizes.Figures and objects blend in a profusion ofpatterns, and their closely ranged tonalitiesof earthy browns, burgundies, and yellowsevoke tapestries.The panels' unusual character matchedthat of the Natansons' apartment on rueSaint-Florentin, just off the place de laConcorde, which consisted of a large openspace adjoined by several small alcove areas.Its unconventional decor reflected Misia'staste, which was inspired by the EnglishArts and Crafts movement. Also called the"Annex," the apartment often served as analternative office for the artists and writerswho contributed to Thadee's lively avantgardejournal, La revue blanche; among themwere Claude Debussy, Leon Blum, StephaneMallarme, and Andre Gide. The evocativeSymbolist qualities of Mallarme's poetry andDebussy's music also find echoes in Vuillard'sfive panels.SR47

NORTH AMERICA 1700 1 900Masonic ArmchairAmerican (Boston, Massachusetts), I76o-75Mahogany, maple, gilding, and horsehairH. 50o2 in. (128.3 cm)Gift of Mr. and Mrs. George M. Kaufman,20002000. 92A magnificent exception to the rule that alleighteenth-century American furniture conformsto standard models is this great Masonicarmchair from Boston. Such ceremonialchairs, of richly carved Rococo design, wereall the rage for the masters and wardens of48Masonic lodges in the provincial cities ofmid-eighteenth-century England. However,none is known from Philadelphia, the centerof Rococo fashion in America, and but oneournew acquisition-from all of New England.The chair, twelve inches taller than normal,is monumental. Its back is composed ofMasonic symbols: fluted columns (KingSolomon's temple), rusticated arch (arch ofheaven), compass and square (faith and reason),mason's level (equality), serpent swal-lowing its tail (rebirth), and trowel (cementof brotherly love). Its legs-with brilliantlyexecuted flat-carved, acanthus-leaf knees andraked-back talon-ball feet-are characteristicof Boston, but the lodge for which it wasmade remains a mystery.This impressive icon of Freemasonry andcolonial woodwork is remarkably well preserved.The mahogany's undisturbed finishhas deep red, luminous highlights, and thegilding on the feet is original (some of theother gold was added later, probably in I790,the year painted on the back of the splat).The striped horsehair seat covering, thoughNeoclassical in style, also appears to be original.MHHThe Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

Gilbert StuartAmerican, 1755-1828Captain John GellI785Oil on canvas94 2 x 58/2 in. (240 x 148.6 cm)Purchase, Dorothy Schwartz Gift, JosephPulitzer Bequest, and 200oo Benefit Fund,20002000.450In his long and prolific career Gilbert Stuartpainted only seven full-length portraits(other than those of George Washington).His ambitious and imposing likeness ofCaptain John Gell (I738-I806) is the secondin this series. Stuart executed it in Londonand there looked to Sir Joshua Reynolds foradvice on blending ideal and individual characteristicsin grand portraiture. The imageepitomizes Stuart's adaptation of Reynolds'smanner: The picture is an accomplishedcombination of fine and apparently slapdashbrushwork that conveys an image of heroismand naturalism, duty and sensibility. It suggestsspontaneity in execution, belyingStuart's considerable conceptual strategyand technical facility.In I785 Gell had just completed his dutyon the Monarca, a seventy-gun ship that hehad commanded in a series of five navalengagements against the French. He camefrom a Derbyshire family and was made alieutenant in the Royal Navy in I760. Twoyears later he was promoted to commander,a rank he held for thirty years through activeduty in Nova Scotia, the East Indies, Portugal,Toulon, and Genoa, among other places. Headvanced to the rank of admiral in I799.CRB49

Francois M. Guyol de GuiranFrench, active in America I812-28Portrait of a Gentleman and HisDaughteri800-1825Watercolor on ivory andpaintedpaperW. (includingframe) 6'8 in. (5. 6 cm)Purchase, Gift of The Chester DaleCollection, by exchange, zooi2001.95Guyol de Guiran is known exclusivelysigned piece, a work of striking qualityoriginality. The artist was one of the manyFrench-emigre miniaturists who cameAmerica in the early nineteenth century,the market was especially strong for suchcate likenesses. The Museum's collectionworks by these painters is extensive and greatlyenhanced by this touchstone portrait. Guyolde Guiran worked in St. Louis (1812-ca.and in New Orleans (1822-28); this picturemay have been done in either locale. Itsumably a portrayal of a father and daughter,given the age difference and the lovingfrom the girl to her gentleman companion,but this relationship cannot be confirmed.An unusual feature of the tiny paintingartist's joining of ivory, on which the figuresare delineated, with paper, on which thefoliage is drawn. by thiswhendeliofI820)preglanceis theMiss LelandAmericanBoy with Pull ToyCa. I825Watercolor on ivory4 4 X 4 in. (o0.8 x 10.2 cm)Purchase, Martha Fleischman Gift, inhonor of her mother, Barbara G.Fleischman, 200oo2000.484The Museum's collection of American portraitminiatures has become increasinglycomprehensive with the addition of fineworks by heretofore unknown miniaturists,such as this enchanting portrait of a beautifullydressed boy with his pull-toy horse.obscure but obviously talented Miss Lelandsigned and dated the work on the originalbacking paper for the ivory, and it may bethat this inscribed example will lead to thediscovery of other pieces by the artist. Alloften, miniatures of children served a memorialfunction, but this piece, by contrast,appears to be a life-affirming image.toThetooisCRBBoston and Sandwich Glass Company,New England Glass Company, or SouthBoston Flint Glass WorksAmerican, 1825-88; i8i8-88; 18Ig-?7oCream Pitcher and Sugar BowlSandwich, East Cambridge, or South Boston,Massachusetts, 1820-35Blown lead glassH. (pitcher) 6Y8 in. (1r.4 cm); h. (bowl withlid) 9 8 in. (25.1 cm)Gift of Mr. and Mrs. Robert Keller, inmemory of Gretchen Keller, zooo2000.509.1; .2a, bGlass, elaborately cut or engraved in a varietyof patterns based on English Regency styles,was in vogue for fine tableware during theearly nineteenth century. This elegant creampitcher and sugar bowl reveal a sophisticatedalternative to cutting: the manipulation ofthe clear, colorless glass in its molten state.The vessels combine multiple decorative50

techniques characteristic of three New Englandfactories that were producing stylish waresduring the I82os and I83os. The predominantfeature is the tooled horizontal ribbing on asecond gather, or applied layer, of glass, whichwas drawn upward into the ribs with a sharptool to create a swag pattern. This strikingornamentation is repeated on the domed coverof the sugar bowl and again on the cover'sfinial. The bold, classic footed shapes and therounded hollow stems are hallmarks of allthree Massachusetts firms. Although lackingthe refractive qualities of their cut-glasscounterparts, the cream pitcher and sugarbowl are highly lustrous in their surfaces andsophisticated in their decorative techniques.J. and I. Cox (designer, manufacturer,and/or retailer)American, 818-52LampNew York City and/or England, ca. I825Gilt bronze and brass, with blown-glasshalf-dome shadeH. 28 in. (7i.- cm)Purchase, Dr. and Mrs. Burton P.Fabricand, Mrs. Daniel Fraad, andJan and Warren Adelson Gifts, zooo2000.449ACF"Sinumbra" lamps, so named because theywere designed to reduce the shadow cast bytraditional Argand lamps, enjoyed great popularityin fashionable American interiors duringthe I82os and I83os. This elegant exampleis distinguished by a rare label of J. and I. Cox(for John and Joseph), leading New YorkCity purveyors of lighting fixtures. By toutingthe firm's role as "maker," when many ofthe lamps Cox marked are known to havebeen produced in England, the label suggestsa different role: Cox may have assembled thelamp entirely from imported parts or madesome of the elements itself.The painted glass shade is a rare survivaland would have been used on lamps of thistype; however, it is not known whether thisone is original to the lamp. The scenes resembleBritish aquatints and are similar todrawings by John Hill, a British-born artistwho emigrated to New York City. They alsoresemble the work of William Collins, anEnglish enameler and manufacturer of glass.This example is among the finest survivingglass shades of the early nineteenth century.MHl b.r- fAIbm 1. 19 05I

American, 833-I9o05In 1889 Lyon and Healy, a successful retailand mail-order musical merchandising com-pany, added the manufacture of harps to itsbusiness. Within a decade the firm became aserious international competitor and soonsurpassed the Paris companies of Erard andPleyel. Lyon and Healy's success was built onsturdy and durable wooden construction andsmooth and secure action of the metal rodsand levers, which were crafted with the highestprecision. The basic construction, however,follows the French models, in particularErard's double-action harp.The present example, with the serial numberIIS, is among the company's earliest toWlliam c)Prchas,CaardsWilliam Trost Ri Trost Richards Beqyon ad H y~~~~ Lyon and Healy ~survive. It corresponds to model number z3American (Chicago, Illinois), est. I864sdeLago Avernus PedalrHarin Lyon and Healy's first trade cataloguenstrument isexecuted a semigrand har, with seven4ago Watercolo gouache, andfulgrapofAvinern 4cus hion blue-gry andscapesgilt; ironwater- P Wood, a ebonized laralso brss; ndfeatures a fourchette mechanism, which~M~forris ooi K. Jesup in Fund, memory o Andrea Mertens, ooThe undoubtedly stle-action edals andeth pedal founding,laidpaperH. 70 in. (I77.8 cm)2001. 867-7 C00. 89a swell mechanism to ncrease the volmerica. ItSociety of Pa in. (ters in WaBequest,also features a fourchette mechanism, whichMorris K. Jesup Fund,rcolI memor of M. W. Turnerrtens, whoseoo in An dr20oI.392ooI. I7It and E hmixturen 866-67, Ltransparent anis onpaqueProbably execupainted onseveral times), the co mposition, ndofpigments, aof his early landscapes in a textured blue paperMagundoubtedly stimulated many artfounding,st'sof theat the timerolors of his American departure, scenery of the and gaveSocietyion of Paintgo Avernus in Water Color, which colwouldprovidf the artist's work him and forus medianyLago Avernus may be the model forother Amerie than artists. In Englo and Ricnhancerdscolor. particularlyousHis inrst submission during the to the lassubjt here society, decade. in 70. Inw52

terminates the sounding length of the fortyfivestrings, and a semicircular body. Bodybase, column, and harmonic bar are ebonizedand richly decorated with gilt flowers, birds,and a human figure.HHJames McNeill WhistlerAmerican, I834-90o3Variations in Violet and Gray-MarketPlace, Dieppe1885Watercolor and gouache on off-white wovepaper8 x 5 in. (20.2 x 12.7 cm)Gift of Douglass Campbell, RichardStrachan, and Stephen M. Strachan, inmemory of Mrs. Douglass Campbell andMrs. William Lyman Campbell, zooo2000.512During Whistler's visit in I885 to the Normandyseaside resort of Dieppe, he capturedthe busy market square from a high vantagepoint and accentuated the liveliness of thescene by using his sheet in a vertical format.The result was one of his most delightful andcomplex watercolors, filled with energy, variety,and interest despite its surprisingly smallsize. The sheet offers a catalogue of the techniquesWhistler had mastered by the mid-I88os, the zenith of his work in watercolor.Precise brushstrokes create picturesquefigures gathered in the foreground, abstractdabs suggest the distant crowd, and delicatewashes indicate old buildings around thesquare. The title, Variations in Violet andGray, invokes both the musical associationsthat Whistler so often pursued in creating andnaming his works and his preference for harmoniousarrangements distilled from the worldof appearances.Following the successful London exhibitionof the watercolor in I886, it was shownin Paris in 1887, to acclaim and appreciationby contemporaries such as Camille Pissarro,and in New York in I889. Its rich exhibitionhistory enhances its importance, which Whisterhimself appears to have recognized.HBW53

THE FALES COLLECTIONAMERICAN JEWELRYClockwise, from top leftOFPair of Earrings with Snap-On CoversAmerican, ca. I882-85Diamonds, gold, and enamelL. (each earring) Ys in. (2.2 cm);diam. (each cover) 2 in. (I.3 cm)LocketAmerican (Boston, Massachusetts), i706Gold, crystal, and hairL. i in. (2.5 cm)Tiffany and CompanyAmerican, est. 1837PinNew York City, ca. 1890Gold, enamel, and diamondL. 314 in. (8.3 cm)George W. JamisonAmerican, d. i868CameoNew York City, ca. I835Helmet-conch shell, enamel, andyellow, rose,and green goldL. 2Y2 in. (6.4 cm)Marcus and CompanyAmerican, I892-before i95oBroochNew York City, ca. o900Gold, peridot, diamonds, pearls, and enamelL. 2Y2 in. (6.4 cm)Purchase, Susan and Jon RotenstreichGift, zooi20oo.234a-d; 200; 20.02; 21.330; 2000.562;2001.238The Museum recently purchased an importantcollection of American jewelry madebetween 1706 and I915. This comprehensivegroup of seventy-three objects and setsincludes several exceptional examples of thejeweler's art, including those pictured here.The heart-shaped locket with light brownhair beneath a faceted crystal is the earliestpiece in the collection. A type of mourningjewelry, it is inscribed "obt 20 / of April /I706" above an engraved skull. The helmetconch-shellcameo with a bust of AndrewJackson, cut in about I835 by George W.Jamison, is an elegant tribute to the seventhpresident. Reflecting the "cameo fever" thatfirst swept Europe in the late eighteenth cen-tury, it is inscribed with Jackson's oft-quotedslogan, THE UNION / IT MUST AND / SHALL BE/ PRESERVED. Beauty and practicality arecombined in the diamond-drop earrings withremovable "coach" covers, which served toprotect and conceal the valuable stones. Theboldly scrolled, gold-mounted peridot broochwith diamonds and a pendant pearl, markedby the outstanding New York firm of Marcusand Company, harks back to Renaissancedesigns. A diamond dewdrop shimmers amidstthe realistically rendered enamel petals of aflower-form pin, one of several exquisiteTiffany and Company pieces in the FalesCollection.BCW54

Louis Comfort TiffanyAmerican, I848-1933Tiffany Glass and Decorating CompanyCorona, New York, 1892- 902Two VasesBlown Favrile glassH. (.) 22 in. (55.9 cm); h. (2) I6Y8 in. (41 cm)Gift of Robert and Gladys Koch, 1999I999.412.1, .2The Metropolitan Museum has one of themost comprehensive and historically importantcollections of blown Favrile glass byLouis Comfort Tiffany. However, the giftof these two superb vases immeasurablyenhances it. Both epitomize Tiffany's goal toproduce one-of-a-kind works that expressedhis personal aesthetic. Each has a colorationof gold with an iridescent surface, and yeteach is treated in a markedly different way.The vase on the left is unusually large and isa prime example of Tiffany's passion fordepicting nature. An arrangement of leavesand stems is displayed fluidly over the body.I999.412.1The vase on the right exhibits entirely abstractdecoration, achieved by the varying surfacesof crusty, deep chocolate brown (akin tothose on Tiffany's Cypriote glasses) contrastedwith smooth, rich iridescent gold; the overalldesign undulates in a manner that brings tomind the prevailing Art Nouveau style.Like the Museum's other holdings ofFavrile vessels (originally owned by Tiffanyor by the H. O. Havemeyers), the larger ofthe two vases has a significant provenance. Itwas exhibited at the Paris Exposition Universelleof I900 and was owned by Tiffany's sister,Mrs. Alfred Mitchell, of New Haven.I999.4I2.2ACFLouis Comfort TiffanyAmerican, 1848-I933Hair OrnamentNew York City, ca. I904Silver, copper, opals, demantoidgarnets,garnets, and enamelDiam. 3'2 in. (8.9 cm)Purchase, Barrie A. and Deedee WigmoreGift, zooI2001.249Louis C. Tiffany, already a master of manymedia, began making jewelry shortly afterI900. While designers at his father's firm,Tiffany and Company, utilized primarilypearls, diamonds, and other precious stones,Louis's work was more closely aligned withthat of the avant-garde Parisian jewelersRene Lalique and Georges Fouquet, and,like them, he favored the common forms innature as well as semiprecious stones andenamel. The opals, garnets, and enamel onthis piece provide a subtle interplay of lightand color. As is consistent with Tiffany's earliesthandwrought designs-inspired by fieldflowers and fruits this hair ornament is basedon the wild carrot, or Queen Anne's lace.Tiffany first exhibited his jewelry to thepublic in I904 at the Louisiana PurchaseExposition in St. Louis. Three ornamentsof Queen Anne's lace, each representing theblossom at a different stage, were amongthe twenty-seven works that he displayed.This example, with its slightly domed blossomhead, was the one cited in the contemporarypress as being in "the full perfection ofbloom" and was considered the most brilliantof the three. It descended in the family of theoriginal owner, Ida E. B. Noyes (Mrs. LaVerneNoyes, d. 1912), a noted Chicago philanthropist,who probably purchased it at theI904 fair.ACF55

MODERNPaul CezanneFrench, 1839-9o06StillLife with a Watermelon andPomegranates900oo-906Watercolor over graphite on heavy wove paper12 x I832 in. (30.5 x 47 cm)The Walter H. and Leonore AnnenbergCollection, Partial Gift of Walter H. andLeonore Annenberg, zoo002001.202.1Of the twenty or so still lifes Cezanne producedon paper during his final years, thiswatercolor is among the most fully realized.The composition is crowded with rotundfruit and tableware and colored intenselywith a complete rainbow of hues, from thedeep blue of the watermelon to the blazingred of the pomegranates (in French, grenades).In another watercolor done at the same"sitting" Cezanne studied the same arrangementof objects but moved his position aquarter turn around the table. His second take(now in a private collection in Switzerland)shows the glass carafe-seen in this work atfar right-in the center foreground of thecomposition; the wine bottle, with its paperlabel gleaming here above the melon, therestands behind the sugar bowl. The artist'sshifted viewpoint altered entirely the regimentof forms he had at first admired, butpresented a new "objectscape" to engage hislove of shapes and spaces.Of the nine watercolors by Cezanne nowin the Museum's collection, this is our firststill life.ci56The Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

Claude MonetFrench, 1840-I926The Path through the Irises19I4-17Oil on canvas78 8 x 70 8 in. (200.3 x I8o cm)The Walter H. and Leonore AnnenbergCollection, Partial Gift of Walter H. andLeonore Annenberg, 2ooi2001.202.6Monet devoted the last dozen years of his lifeto the extraordinary large-scale decorativecycle that was installed in the Orangerie,Paris, after his death. With only a handful ofexceptions, the motifs for the two hundredcanvases on which he worked after his I908trip to Venice were taken from the extensivegardens that he had developed on his propertyat Giverny, and these canvases all relatein one way or another to the Orangerie cycle.His views of the water-lily pond are perhapsthe most famous, but he also worked hard toextract novel compositions from other cornersof his garden, where there were diverseplantings such as weeping willows, roses,and irises.Like those he made of water lilies, hispaintings of irises were meant to rise fromthe particular to the universal. In this work,the most highly finished of the series, theflowers are offered not as botanical specimensbut as archetypes. Monet focused his energieson the movement of the swordlike leaves andon the unusual harmony of ocher, violet, bluegreen, and yellow green. Although the artistwas already experiencing great difficulties withhis eyesight, any grower of irises will recognizethat he knowingly found the reddishpurple tint that hides within every blue iris.GT57

Henri MatisseFrench, 1869-I954Seated Nude AsleepI906WoodcutImage I834 X I5 in. (47.6 x 38. cm)Signed and numbered (lower right):Henri-Matisse 38/50; initialed (in the block,lower left): hmPurchase, Reba and Dave Williams Gift,20002000.236A proof of Seated Nude Asleep was shownin Paris at the Salon des Independants inI907. Reviewing the exhibition, a friend ofthe artist complained of the work's "willfuldeformations, a bit too premeditated." Morethan forty years later the great Matisse scholarAlfred H. Barr praised this work as presentinga "figure more uncompromising in itsdistortions and angularities than The BlueNude (I907)," the artist's boldest Fauvepainting. Even today the printed image haslost little of its original impact.This is the largest and best known of threewoodcuts of reclining or seated nudes thatMatisse created in I906. These prints-hisonly attempts in the medium-are indeedblack-on-white equivalents of his strongestFauve pictures. Matisse did not attempt toinvest the nude with sensuous appeal. Instead,he concentrated on simplification and design.The contorted body rests on a backgroundthat is also Fauve in its combination of dots,daubs, and straight and wavy lines.Woodcut was in vogue among the artist'scolleagues in France and Germany. While thelatter gouged directly into the block, Matissecreated studies for his prints. The ink draw-ing for this work was recently acquired bythe Metropolitan as part of the Jacques andNatasha Gelman bequest (acc. no. I999.363.39).The block is owned by the British Museum,London.SREvening WrapFrench, 1918-20Ivory silk georgette with seed-bead embroideryL. (center back) 58 in. (147.3 cm)Isabel Shults Fund, 200z2001.374.1Evening coats, wraps, and mantles of the I9Ioswere opportunities for lavish embellishment.Their draped, kimono-like construction, composedof large, relatively uncut lengths of fabric,often accommodated expansive fields ofapplied ornament in long continuous bands.In this dramatic example a motif of stylizedroses popularized by the designs of Raoul Dufyfor Paul Poiret, the preeminent couturier ofhis day, is rendered in black on a white ground.A contrasting wide band controlling the backhem and train is embellished with a white-onwhitecentered spray of roses in a similar style.The highly graphic patterning described in thedensely applied beading is evidence not only ofthe bold and dramatic effects characteristic ofthe period, but also of the miraculous recoveryof the French luxury trades after the horrificdisruption of World War I.Although this wrap is typical of the lateI9Ios in its essentially linear drape-the resultof the weight of the beading on a sheer silkgeorgette ground-its cocoonlike embraceand severely pegged hem also evoke the exoticthemes introduced by Serge Diaghilev's BalletsRusses, which had inspired Poiret's languidodalisque styles of a decade earlier. HK58

Henry Ossawa TannerAmerican, 1859-1937Flight into Egypt1923Oil on canvas29 x 26 in. (73.7 x 66 cm)Marguerite and Frank A. Cosgrove Jr.Fund, zooi2001.402Tanner's eloquent Flight into Egypt is acanonical mature work by the increasinglyesteemed American artist, who studied inParis and resided in France. In the mid-I89osTanner decided to concentrate on biblicalthemes familiar from his childhood in ahousehold headed by a leader of the AfricanMethodist Episcopal Church. Tanner devel-oped an increasingly painterly, highly personalstyle based on empirical observationand inner vision. "Tanner blues," complexlayers of glazes, and flat decorative surfacesare keynotes of many of his late canvases.Flight into Egypt depicts the Holy Family'sclandestine evasion of King Herod's assassins(Matthew 2:12-I4), Tanner's favorite biblicalstory. It expresses his sensitivity to issues ofpersonal freedom, escape from persecution,and migrations of African-Americans fromthe South to the North. The painting, whichreveals a concern for human emotions andan awareness of the mystical meanings ofbiblical narratives, also manifests Tanner'saffiliation with contemporary Symbolism andthe religious revival that occurred in responseto challenges of the modern era.On the back of this canvas is a study forthe prizewinning work Tanner entitled Christat the Home of Lazarus, painted about 1912and now known only from photographs.HBWOtto DixGerman, I891-1969Nelly1924Lithograph1i8 x 8 in. (28.3 x 20.3 cm)Signed (in the stone, lower right): DIX24Purchase, Reba and Dave Williams Gift,20002000.II2.2During the I920s the painter and printmakerOtto Dix was prominent in the Germanart movement known as Neue Sachlichkeit(New Objectivity). This portrait study is afine example of his emulation of the draftsmanshipof Northern Renaissance artists.Nelly is a small lithograph of the artist'sdaughter (1923-I955) at age one. She is shownin Dix's customary close-up, three-quarterview, which accentuates the roundness of herfull face. Her curly hair is a tousled mop, andshe wears an elaborate lace collar, which fitstightly around her chubby neck. The portraitconveys vitality and a nascent personality,although not endearment. Nelly stares determinedlyahead, and her purposeful mouthsuggests an intensity of character, even atsuch a young age. Dix's dedication to unsparing,clinical objectivity extended evento his depiction of his own young daughter.He portrayed her with not many traces ofpaternal sentiment.This print is a welcome addition to theMuseum's holdings of works by modernGerman artists such as Dix and Max Beckmann(I884-I950), an area of collecting that has beenmade possible by Reba and Dave Williams.ALS59

Josef HoffmannAustrian, I870-1956Tea ServiceSilver, ebony, amethyst, and carnelianH. (large teapot) 5 A in. (3.7 cm)Cynthia Hazen Polsky and Leon B. PolskyFund, 2ooo2000.278.1-.9Josef Hoffmann's designs before I900 incorporatedthe curvilinear, organic motifs commonto the then-fashionable Jugendstil andArt Nouveau styles. With the turn of thecentury, however, he abruptly abandonedthem for a revolutionary new approach basedon geometry, of which this tea service is anoutstanding example. Its materials are lavish:hand-beaten silver, ebony, and semipreciousstones. Hoffmann, however, has integratedthem with forms of uncompromising auster-ity: straight sides, domed lids, and squared-offhandles. The only decoration, except for theinset jewels, is the single thin horizontal line ofraised dots near the bottom of each container.This service was made for the WienerWerkstatte, the company of designers, artists,and craftsmen founded in Vienna in I903 toproduce luxury objects in the most advancedstyle. The set was purchased in I911 by a SanFrancisco couple on their European weddingjourney and descended from them to theirgrandson, the vendor to the Museum.JSJJacques Le ChevallierFrench, I896-1987LampCa. 1928Aluminum and eboniteH. ii in. (27.9 cm)Purchase, The Horace W. GoldsmithFoundation Gift, 2ooi2001.4Ioa, bAlthough most prolific as an artist in stainedglass, Jacques Le Chevallier is perhaps bestknown for the small number of extraordinaryModernist table lamps that he designed inthe late I92os. This model, the most extremeof the group, consists of an abstract sculpturalhousing for the bulb resting atop a circularbase raised on cylindrical legs. Starklyspare and completely unornamented, thelamp gives the overall effect of a functionalmachine. Nonetheless, a certain decorativequality is achieved through the Cubistinspiredangular planes, the exposed screwsand braces, and the softly reflective finish. Noeffort has been made to conceal the bulb orthe socket, though the light can be shaded orredirected by revolving the lamp to a varietyof different positions. Less reflective than silveror chrome-plated steel, aluminum wasmore affordable during the I920s, increasingits appeal for designers.Le Chevallier was a founding member ofthe Union des Artistes Modernes, an organizationthat promoted the forward-looking,reform-minded ideals of Modernist design inFrance. Other members included architectsand designers such as Pierre Chareau, ReneHerbst, Eileen Gray, Robert Mallet-Stevens,and Charlotte Perriand.JG6o

Terence Harold Robsjohn-GibbingsAmerican (b. England), 1905-1976Klismos ChairCa. 1937Wood and vellumH. 3Y 8 in. (89.9 cm)Purchase, The Horace W. GoldsmithFoundation Gift, zooi2001.207Gilbert RohdeAmerican, 1894-1944Electric ClockCa. 1933Chrome-plated metal and glassH. I12 in. (30.8 cm)John C. Waddell Collection, Gift ofJohn C. Waddell, zooo2000. 6oo.I5Although the I930s saw an increasing acceptanceof the aesthetics of Modernism, traditionaldesign continued to be dominant.Most people found its references to a settledpast reassuring. The styles of the eighteenthand early nineteenth centuries, more or lessHereaccurately copied, were especially popular.However, even Neoclassicism, which mightbe assumed to be the safest of styles, could bechallenging if carried to extremes.Robsjohn-Gibbings took the formof a classic klismos chair, depictions ofwhich are found in ancient Greek paintingsand sculpture, and produced a design of greatelegance. Conventionalized adaptations ofklismos chairs had been used in many earlynineteenth-centuryinteriors, but this form,stripped to its essentials, goes well beyondthem. It is striking in its absolute purity.JSJRohde was known primarily as a furnituremaker whose progressive designs were producedby well-known manufacturer such asHeywood Wakefield, Troy Sunshade, JohnWiddicomb, Herman Miller, and Thonet. In1932 and I933 he created a series of clocks forthe Herman Miller Clock Company thatwere remarkable for their daringly advanceddesigns. The transparent glass face of thisexample is suspended in front of a chromeddiagonal support, its sharp angle abstractlyreinforcing a sense of dynamic motion. The"numerals" slashes of white-seem to floaton the clear glass surface, highlighting thesharp, dominant black hour hand. The colorscheme of black, red, and silver and the useof sleek materials such as chrome and glasstypify the kind of furnishings that complementedluxury interiors of the I930s. Althoughmost people were struggling to make endsmeet during the decade-long Great Depression,the elegant penthouse atop a skyscraperapartment building represented a privilegedfantasy world that dominated Hollywoodmovie sets as well as designs for luxury citydwellings created by the most contemporaryarchitects and designers.JA

Jacob LawrenceAmerican, r197-2000The PhotographerI942Watercolor, gouache, and graphite on paper22S8 X 30/2 in. (56.2 x 77.5 cm)Signed and dated (lower right): J.LaWRENCE 42Purchase, Lila Acheson Wallace Gift, oo002001.205Jean DubuffetFrench, 9po0i-985Self-Portrait1936Oil on canvas25 34 X 21Y2 in. (65.4 x 54.6 cm)Signed and dated (upper left): J. Dubuffet / I936Purchase, Gift of Mrs. Richard Rodgers,by exchange, zooi2001.396Nothing in this self-portrait identifies thethirty-five-year-old Jean Dubuffet as anartist-neither the trim haircut, the whiteshirt, nor the brown jacket that blends intothe background. Only the intense gaze of hisnarrow green eyes points to the deep preoccupationof the artist, then at a crossroadsin his life.One year later Dubuffet stopped paintingfor the second time and returned to his winebusiness. Dubuffet had tried various careers. In1918 he enrolled at the Academie Julien, inParis, yet left after six months. Subsequently,he studied art history, languages, philosophy,literature, and music. In I923-24 he servedin the military as a meteorologist and in 1924worked as a technical draftsman in BuenosAires. He then became a wine merchant, firstin his parents' business in Le Havre (I925-30)and then independently in Paris (1930-34and I937-42).In 1942, when Dubuffet resumed painting,he repudiated his earlier style. He adopted aseemingly untutored style that defied thecategories of "ugly" and "beautiful" in conventionalart and that he called art brut.Dubuffet gave this only surviving self-portrait to Jean Paulhan (I884-I968), aFrench writer, critic, and editor. In 1946Dubuffet again celebrated their friendshipin his remarkable portrait of Paulhan alsoin the Metropolitan (acc. no. I999.363.20).SRFor nearly sixty years Jacob Lawrence was apowerful and poignant voice in American art.His historical and contemporary narratives,derived from African-American experiences,reflected the depths of humanity. Paintedalmost exclusively on paper with gouacheand tempera, his compositions feature boldcolors, matte surfaces, and naive figurationthat enhance their visual and emotional impact.Urban scenes, primarily views of Harlem, wereparticular favorites of his and conveyed thequiet dignity of that neighborhood's citizens.The Photographer is one of twenty picturesmade in 1942 during a period of artistic andprofessional awakening for the twenty-fiveyear-oldLawrence. That year he gainednational recognition when his Migrationseries was acquired by and divided betweenthe Museum of Modern Art, New York, andthe Phillips Collection, Washington, D.C. Alsoin 1942 the Metropolitan Museum purchasedthe first of its three works by Lawrence from itswartime "Artists for Victory" competition.Here Lawrence suggests the sights andsounds of a busy street in Harlem filled withvehicles, pedestrians, and workers of all kinds,including an itinerant photographer under ablack cloth. Mixing humor and compassion,Lawrence created a lively portrait of this vitalNew York community that seems to transcendspecific time and place to address broaderconcerns about the human condition.LMM62

Robert FrankAmerican (b. Switzerland), b. 1924[The Congressional]I955Gelatin silver print9Y2 x I3 in. (24.1 x 3 cm)Harris Brisbane Dick Fund and DodgeFund, zooi2001.I64.4and details that convey not only the socialgist of the situation but, even as importantly,its undercurrent mood. These photographsprovide a rare glimpse of America's powerelite fed by the spoils of the country's wartimesuccess and at ease in their mobile boardroomen route to and from the nation's capital.JLRFrank made his name by melding WalkerEvans's incisive social documentation withHenri Cartier-Bresson's eye for the tellingmoment caught on the fly; he wielded thisunified technique in the service of a particularlysoulful vision that permeates his imagerywith melancholy and is most eloquentlyinscribed in his great book, The Americans(I959). This photograph appeared in Fortunemagazine, November I955, in an article writtenby Evans on the Pennsylvania Railroad'sclubby afternoon train, the Congressional,which ran express between New York andWashington. In a suite of images of businessmen,politicians, and lobbyists scheming,drinking, and having their shoes shined in thetrain's lounge, Frank focused on the rituals63

In the two years before his sudden death,Smithson planned various land-reclamationprojects to make a new form of public artfrom devastated industrial sites. Here he envisionedan "earthwork" that would havedwarfed even Spiral Jetty. In the largest openpitcopper mine in the world, Smithson proposedthe construction of a huge revolvingdisk at the pit's base, from which to surveynature's gradual and inevitable reclamationof man's invasive enterprise-a primarytheme of the picturesque tradition withwhich the artist was engaged. The Museum'sacquisition includes not only this study butalso four other important works, whichtogether constitute the finest single representationof Smithson's work in photography.DELouise LawlerAmerican, b. 1947Pollock and Tureen, Arranged by Mr.and Mrs. Burton Tremaine, Connecticut1984Silver dye bleach print28 x 39 in. (77.I x 99.1 cm)Purchase, The Horace W. GoldsmithFoundation and Jennifer and Joseph DukeGifts, zooo2000.434Robert SmithsonAmerican, 1938-1973Bingham Copper Mining Pit-UtahReclamation ProjectI973Photostat andplastic overlay with wax pencilIr82 x 13/2 in. (47 x 34.3 cm)Purchase, Pat and John Rosenwald Gift, 200oo200o.293One of the most important American artistsof the second half of the last century, Smithsonis best known for SpiralJetty (I970)-a 1,500-foot sculpture of mud, salt, and rock coilinginto Utah's Great Salt Lake. Equally at homein sculpture, photography, film, and writing,Smithson simultaneously expanded ournotion of art and used that expanded field toreinvigorate the great subjects, among themlandscape, myth, history, and the course ofcivilizations.64

Lawler is a spy in the house of art, castingsidelong glances at Modernist masterpieces asthey wend their way from the pristine whitecubes of galleries and the carpeted walls ofauction houses to museum storerooms, corporateboardrooms, and private homesaround the world. In its exposure of the artworld's usually invisible machinery of possession,display, and circulation, Lawler's workfits comfortably within the tradition of institutionalcritique that began with MarcelDuchamp's Fountain (I917). Her effortlesslycool, deliberately neutral images are nevercheap shots or tendentious sermons, however,and, as Walker Evans once wrote of DianeArbus, there is more wonder than socio-political conviction in her gaze.As sometimes happens in photography,Lawler discovered the crux of her entire projectserendipitously, when she was grantedaccess to the Connecticut home of Burtonand Emily Tremaine, collectors of twentiethcenturyart, in I984. Working in availablelight with a 35mm camera, Lawler unearthedtreasures everywhere she looked, such asthis decorator's duet between a late JacksonPollock and the filigree of an eighteenth-centurytureen. Simultaneously trenchant and poignant,Pollock and Tureen is a cutting comment lacedwith the love of an undercover aesthete.DETerry WintersAmerican, b. 1949Double Standard1984Lithograph78 x 42 in. (198.1 x o06.7 cm)Initialed and dated (lower right): Tw 1984;numbered (upper right): 24/40Gift of Susan Sosnick, in memory of herhusband, Robert Sosnick, zooI2001.1.3Best known as a painter, the New York artist theTerry Winters is one of the most versatile andprolific printmakers working today. He usuallybases his lithographs, intaglios, andrelief prints on preliminary drawings in variousmedia. This enormous lithograph-hislargest print-shows his interest during theI98os and early I990S in combining abstractionwith botanical, zoological, or architecturalimagery. In those years Winters often hugelyenlarged forms that are microscopic in nature,such as the spherical masses of fertilized ovasuggested here. He has depicted the ova atstage of embryonic growth when moreand more segmentation takes place, leadingto organ development. Winters rendered thecellular forms chiefly with black and nearlyblack lithography crayons and extendedthem with plantlike tendrils. This print is theearliest of thirty-seven lithographs, etchings,and woodcuts by Winters donated to theMuseum this year by Susan Sosnick, whoselate husband, Robert, collected the artist'swork in all media. It is one of 117 prints byWinters, ranging in date from I983 to 2001,in the Metropolitan's collection.NR65

Leonardo DrewAmerican, b. 1961Number 241992Wood, rusted andpatinated iron, and cottonwasteL. 20ft. (6.i m)Gift of Barbara Schwartz, in memory ofEugene Schwartz, zooo2000.97Rachel WhitereadBritish, b. 1963Untitled (Pair)1999Bronze with cellulose paintL. (a) 80o4 in. (203.8 cm); 1. (b) 80/2 in.(204.5 cm)Initialed, numbered, and dated (bottominsides): RW 7/12 A I999; RW 7/I2 B I999Promised Gift of David TeigerOne of the leading British sculptors of hergeneration, Whiteread is interested in themesof memory and death. Having taken as astarting point the sculpture A Cast of the Spaceunder My Chair (I965-68) by the Americanpost-Minimalist Bruce Nauman, Whitereadfirst earned recognition with a full-scale concretecast of the negative space-the emptyinterior-of an abandoned row house in adepressed area of East London. Her recentpublic sculptures include a translucent-resincast of a giant water tower, installed on aManhattan rooftop, and the negative interiorspace of a library, constructed on the Judenplatzin Vienna as a memorial to Holocaust victims.This work, her first in bronze, consists oftwo nearly identical waist-high forms coatedwith white paint. The tops of the forms, oneslightly convex, one concave, derive fromused mortuary tables purchased by Whiteread66and employed to make floor sculptures, slabscast in rubber. The slope of the slabs suggeststhat there are drainage holes at one end ofeach table. To make the antiseptic volumesof Untitled (Pair) Whiteread added sides tothe slabs, creating tomblike objects that shefirst installed in rows of nine pairs.Working in New York City, where he studiedat Parsons and at Cooper Union, LeonardoDrew makes large-scale metal relief sculpturesthat have a decidedly urban feel in theirunderlying grid structure and in their useof decaying matter from the city's streets.While the actual constructions are completelyabstract in design, the artist's unorthodoxmaterials (rusted metal, cotton waste, rope,cardboard boxes, and discarded debris) haveinherent narrative associations that oftenrelate to his African-American identity. InNumber 24, for example, the row of rustedbrown metal beams, jagged and dangerous,suggests the condition of run-down ghettoneighborhoods and tenement buildings,while the white tufts of cotton, scatteredacross the surface like drifting snow, alludeto slavery and the plantations of the South.Such references, however, are left vague sothat viewers may relate them to their own setof experiences. Finding meaning and evenbeauty in apparent flaws and ugliness, thesculptor welcomes the visual contradictionsposed by his materials (hard versus soft, darkversus light, solid versus ephemeral). Sincehis first solo gallery exhibition in New Yorkin I992 (which included Number 24), Drew'swork has received national attention.LMM

George SegalAmerican, 1924-2000Self-PortraitI998Charcoal andpastel on paper50o8 38X 4 in. (127.3 x 97.2 cm)Signed and dated (lower left): G Segal 7-98Purchase, Mr. and Mrs. Samuel H.Lindenbaum Gift, zooI2001.57Rineke DijkstraDutch, b. I959Kolbrzeg, Poland1992Chromogenic print478 X 394 in. (I2I x o10 cm)Purchase, Roy R. and Marie S. NeubergerFoundation Inc., Jennifer and JosephDuke, Gary and Sarah Wolkowitz andAnne Marie MacDonald Gifts, zooi2001.307portraitsBetween 1992 and I996 Dijkstra produced acelebrated series of full-length portraits ofteenagers on various beaches in Poland, Croatia,Ukraine, Belgium, England, and the UnitedStates, describing the liminal state of adolescencewith startling eloquence. Posing heryoung subjects before a luminous backgroundof sand, sea, and sky, she imbued thewith an elemental, almost mythicquality that seems to transcend the carefullyobserved particulars of national identityand class.In this photograph a skinny Polish girl ina lime green bathing suit confronts the camerawith a heartbreaking blend of awkwardnessand studied nonchalance. Standing atthe ocean's edge, she tilts her head and slipsunconsciously into a classical contrappostopose. Dijkstra captures this moment with hercamera, deftly revealing the eternal within theeveryday. Shot from a low angle against adarkening sky, the girl appears simultane-ously large and small-monumental yet vul-nerable, half exposed, half grown, halfwaybetween innocence and experience. With itsperfectly modulated blend of clarity andambiguity, the photograph is a stunningdepiction of Venus at the awkward age.MFGeorge Segal, one of America's most importantpostwar sculptors, is best known for theanonymous white cast-plaster figures he oftenplaced in real environments. Gaining recognitionin the Pop Art era of the I96os, he frequentlytied his subjects to popular cultureand contemporary events. This exceptionallate drawing, however, reveals another, morepersonal side of the artist's talents and is partof a series of larger-than-life, black-and-whiteheads of family and friends that he began inthe I99os. Executed with hundreds of strokesof black charcoal and pastel, this last selfportrait(at age seventy-five) is a tour de forceof expressionist drawing that presents a powerful,intimate view of his psychological stateand aging physiognomy. Looming out of thedarkness to a height of almost four feet, Segal'scraggy features fill nearly the entire composition,yet they project an innate humannessthat contradicts their monumental scale. Thedramatic chiaroscuro effect he achieved withbright lighting and deep shadows gives thelikeness a strong sculptural quality. Gazingintently into the viewer's space, the artistseems to be assessing some unseen presenceperhapshis own reflection.LMM67

John Galliano (designer)British, b. 1960Christian Dior (couturier)French (Paris), est. 1947Evening GownSpring/Summer 2000Silk taffetaL. (center back) 57 in. (144.8 cm)Gift of Anne E. de la Renta, zooi2001.397In this gown from John Galliano's controversial"Hobo" collection for Dior, extravagant,changeable silk taffeta is whipped into a spiralingvortex. The naturally stiff "hand" oftaffeta and the virtuosity of the Dior ateliercontribute to this illusion of fabric come tolife. From neckline to train, four parallelpanels, each longer than the next, are angledinto a body-conforming bias. The gownrecalls both the aerodynamic sleekness of theI930s, in its second-skin fit, and the I950sillustrations by Rene Gruau of fabric snakingaround bodies and spinning into space.Here, as in many of Galliano's creations,the merging of diverse sources has resultedin a design less grafted together than cross-pollinated into a new hybrid. Over the years,whether the references have been to les merveilleusesof the Directoire, courtesans of theBelle Ipoque, or sophisticates of betweenthe-warscaf6 society, Galliano has consistentlyassimilated the styles and sensibilitiesof the past into convincing contemporaryglamour. While his creations are generallyapolitical and ahistorical-the result of anintuitive, primarily visual synthesis-animplicit social critique may be read in thisconfection of haute couture, inspired by therag-swaddled image of a Parisian tramp.Geoffrey BeeneAmerican, b. 1927Evening GownFall/Winter I993Leather and wooljerseyL. (center back) 60 in. (152.4 cm)Gift of Geoffrey Beene, zooi2001.3P3.118HKThe recent work of Geoffrey Beene has beencharacterized by an increasingly sensual68

eductivism. In this evening gown an asymmetricalyoke in black leather acknowledgesthe anatomy-the clavicle, sternum, andspine-while also evoking another reference,that of a shoulder holster, in its trapezoidalshape, strapping, and use of material. As inmany of Beene's designs, the yoke is a detailsimultaneously abstract and allusive, a vestigeof earlier collections in which harnessesappeared as separate accessories to overlay,segment, and define the torso.A subtle provocative intent has alwayspercolated through the designer's collections.Here Beene refutes precedent and resists conventionwhen he employs gray wool jerseyand black leather, materials generally consignedto day- or sportswear. Cut in one piece, withonly a center-back seam, the body of thegown reveals Beene's essentially Minimaliststrategy. Still, like an architectural detail bySantiago Calatrava, whose work is characterizedby zoomorphic bone- and riblike vaults,Beene's supporting yoke introduces a decora-tive flourish through its arcing organicism.The American designer reveals, as does theSpanish architect in his elegant engineeringof shapes, an advocacy of Modernism'sexpressive functionalism.Magdalena AbakanowiczPolish, b. i93oFigure on a Trunk2000BronzeW 8ft. 7 in. (2.6m)Joseph H. Hazen Foundation PurchaseFund, zooo2000.348a, bHKThroughout four decades the human conditionhas been a constant concern for the Polishartist Magdalena Abakanowicz, who lives andworks in Warsaw. This over-lifesize, headlessfigure cast in bronze embodies, in a singleform, the unique expressiveness and powerfulpresence of all of her sculpture. Standing firmlyat the midpoint of a beam, which balancesupon two log-shaped cylinders, this convexshell of a figure, of no specific sex, looms large.Abakanowicz' sculptures of humans are oftenpositioned in groups-ranging from a dozento more than I50-and are typically headless,conveying the loss of individuality, an increasingoccurrence in modern society. Here the elevatedsolitary figure, though headless, seems tolook to a far horizon above the viewer's plane.In 1999 an earlier cast of this sculpturewas included in the "Abakanowicz on theRoof" installation on the Museum's Iris andB. Gerald Cantor Roof Garden. After theclose of that exhibition, the artist offered toproduce an additional cast for the Metropolitan'scollection. The sculpture's surfacewas finished by the artist's own hand, con-tributing to its uniqueness. Androgyne III,a similar but seated headless figure byAbakanowicz, was acquired by the Museumin 1986 (acc. no. I986.22Ia, b).ALS69

Stephen HannockAmerican, b. Ip95The Oxbow: After Church, after Cole,Flooded (Flooded River for theMatriarchs E. &A. Mongan), GreenLight2000Acrylic with oilglazes on canvas96x I44 in. (243.8 x 365.8 cm)Purchase, Moore Capital Management Inc.Gift, 200ooi2001.153Stephen Hannock captured this view of theConnecticut River from the same vantagepoint chosen by Thomas Cole (I801-I848)for his famous View from Mount Holyoke,Northampton, Massachusetts, after a Thunder-storm-The Oxbow (1836), in the collectionof the American Wing of the MetropolitanMuseum (acc. no. 08.228).The lacquered surface and transparentlight effects of Hannock's painting emphasizethe stillness of dusk on a cloudless autumnday. No breath of wind stirs the air; noanimal enlivens this panoramic landscapecombining truth with fantasy. In the I920sa passage was cut through the river's oncescenicloop, the Oxbow, and bridges nowconnect the mainland and the artificially createdisland. The mountains rising in the bluedistance are invented, as is the flooded stateof the river.Since attending art classes at Smith College,in Northampton, during the I970s, Hannockhas claimed this landscape as his own. Here itinspired him to cover large areas of the rustcolored,tilled fields with inscriptions thatrelate to his friends and to the events of dailylife. The names and initials in the title referto Cole's student Frederic E. Church (I826-I900) and to Agnes Mongan (1905-1998) andher sister Elizabeth (b. I905), both importantcurators and teachers, as well as mentors ofthe artist.SRBrice MardenAmerican, b. 1938Red Line Muses2001Etching and lithograph22x 30 in. (.9 x 76.2 cm)John B. Turner Fund, zooI2001.117Since his student days at Yale University inthe I96os, Marden has been engaged in printmaking,creating finely rendered etchings andsilkscreens akin to Minimalism in their cooltouch. However, his aesthetic is not easilycategorized; it transcends succinct labels in itsembrace of the spiritual as well as in its variedformal influences. By the mid-Ig80s Mardenhad turned away from his signature planes ofpure color and tightly knit geometric lines infavor of an open, fluid use of line inspired byforms of Eastern calligraphy.One of seven prints recently executed inetching and lithograph at Gemini G.E.L.,in Los Angeles, Red Line Muses evolves fromMarden's interest in calligraphic gesture.70

His broad, ribbonlike strokes extend languorouslyto the edges of the plate and areoverlaid with a layer of hastily scratched lines,which are printed in muted celadon andneatly framed by a fine red border. Thetranslucent layers of contrasting marks producea subtle sense of pictorial depth withoutspoiling the rich surface effect of the print.SJRJoel ShapiroAmerican, b. I941Untitled2000-2001Cast aluminum with oilpaintH. 2 ft. (3.7m)Signed and stamped (in cast-aluminum platewelded to inside wall of lowest element): JoelShapiro I/4 2001Partial and Promised Gift of Dee Dee andHerb Glimcher, zooi2001.201Joel Shapiro's sculptures of the I970s in castiron, limestone, or wood were in part responsesto earlier Minimalist "specific objects" byartists such as Donald Judd and Carl Andre.Shapiro absorbed their geometric vocabularyof assembled parts, itself in the tradition ofRussian Constructivist sculpture, yet herejected their neutrality and pure abstraction.Shapiro wished his works to be read metaphorically,as allusions that could draw onthe viewer's memories and reactions toimagery suggesting figures. This buoyantdancing object, nearly twice lifesize, is thefirst sculpture by Shapiro to enter theMuseum's collection and his first cast sculpturepainted red. It consists of five hexahedralelements. The two "arms" and two "legs" aresquare in section, and the fifth, torsolikeelement between them is rectangular. Thehollow aluminum lengths were boltedtogether at acute or obtuse angles and reinforcedinternally with stainless steel. The aluminumelements were sand cast from solidlengths of wood that Shapiro joined, follow-ing smaller wooden models. He left the channelsmade by the saw, rather than smoothingthem out, as evidence of his cutting andcasting process.NR7I

AFRICA, OCEANIA, AND THE AMERICASWilliam EllisBritish, 1794-1872Antsahatsiroa (Madagascar)i862-65Albumen printfrom collodion negative72 x 6Y2 in. (1i.I x I6.5 cm)Purchase, The Fred and Rita RichmanFoundation Gift and Rogers Fund, zooo2000.608Headdress OrnamentPeru (Sihuas), 100 B.C.-A.D. 300 (?)GoldH. II'4 in. (28.6cm)Purchase, Discovery Communications Inc.Gift, zooI2001.32Precious-metal objects from the south coastof Peru are rare compared to those found onthe north coast, where deposits were moreabundant and accessible in ancient times.Usually of modest proportions and invariablymade of hammered sheet gold, south-coastworks are distinctive in form and surface decoration.This object is part of a group of ornamentsthat are exceptional for their large sizeand have the same shape and similar overallrepousse designs. They are usually attributedto the Nazca culture; however, recent researchsuggests that they may come from the Camanaiand Sihuas valleys, on the far south coast,where independent traditions flourished. Theiconography focuses on a stylized, oblongfrontal face repeated at different scales, withcircular eyes and what appear to be mustachesand short beards. Rows of circles ofvarious dimensions and zigzag lines fill thespaces between the faces. Two pairs of perforationson either side of the central face suggestthat the object may have been wornaffixed to a turban or a headdress, althoughthere are no depictions in the art of the regionto confirm this use. Perhaps such works werenot intended to be worn in life, but ratherwere attached to burial shrouds or mummybundles, which were then placed in tombs.Reverend William Ellis, a prominent memberof the London Missionary Society, made thisexquisite view of Antsahatsiroa, Madagascar.He established his reputation in Hawaii andTahiti during the early I82os and was the firstEuropean in those places to translate, print,and illustrate Christian scriptures in local languages.In London, in I853, Ellis heard thatthe rulers of Madagascar were again amicableto missionaries, and he prepared to travelthere for the society (he eventually visitedthree times). Ellis was fully aware of thepower of the printed word and image, andthat year, at the age of fifty-nine, he embracedphotography. He received technical advice inLondon from the prominent photographerRoger Fenton. In Madagascar Ellis joined hissociety colleague James Cameron, a photographerwho had been among the first groupof British missionaries to travel to the islandin I826 and was now fluent in the Malagasylanguage. Ellis's first attempts in 1853-54 to visit72The Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

the rulers at Antananarivo with a camera werenot successful, but he returned to the capital in1856 to make portraits of some of Madagascar'sroyalty. Ellis was not the first missionary totake photographs in the capital but was possiblysecond to a Jesuit, Father Finaz. However,those daguerreotypes have never been located;thus Ellis's photographs of Madagascar aresome of the earliest in existence.VLWMaskIndonesia (Timor Island, possibly East Timor),igth-early 2oth centuryWood, fiber, andpaint, with traces of limeH. 9/8 in. (23 cm)Purchase, Discovery Communications Inc.Gift and Rogers Fund, zooo2000.444Timorese dance masks are one of several distinctivemasking traditions practiced by thepeoples of eastern Indonesia. Found primarilyin East Timor, they represent distantancestors and were worn by warriors duringvictory celebrations and probably at otherimportant feasts and ceremonies. The maskswere often painted and adorned with bristlesor strips of hide representing facial hair. Theholes in the upper lip and forehead of thisexample likely served for the attachment ofa mustache and eyebrows, while the wearerwould have looked out through the mouth.When in use, the mask would have beenattached to a hood of fur or cloth thatcovered the remainder of the head and concealedthe dancer's identity. While somemasks made of more perishable materialswould have been discarded at the conclusionof the ceremony, wooden ones, such as thishighly polished and deeply patinated work,were preserved and reused for many years.Ancestor Effigy (Rambaramp)Vanuatu (Malakula, Tomman Island),mid-2oth centuryFiber, bamboo, wood, bone, andpaintH. 6ft. 9 in. (2.I m)Gift of Ms. Terry Beck, zooo2000. 61community.The imposing ancestor effigies, or rambaramp,of southern Malakula, in Vanuatu, are amongthe most visually striking of the island's diversesculptural traditions. Each depicts a prominentrecently deceased individual whose spirithas joined the ranks of the ancestors, thepowers of which ensure the well-being of theEKThe spirit itself resides in theskull, which forms the head of the image andis covered with a papier-mache-like paste offinely chopped plant fiber to create a portraitof the individual in life. The body consists ofthe same material laid over a framework ofbamboo, wood, and fibrous leaves.Southern Malakulan societies practiced acomplex system of progressive religious initiations,and only individuals who achieved thehighest levels, or "grades," were entitled tohave their spirits reside in a rambaramp. Thisexample from Tomman Island, off the southerncoast of Malakula, commemorates a manwho had undergone nine of a possible elevengrade initiations during his lifetime. The"herringbone" body designs, elaborate shoulderprojections, and shell trumpets clutched inthe hands mark his exalted status. The masklikefaces represent idealized supernatural beingsand combine features of humans with those ofthe sacred pigs revered throughout Vanuatu.EK73

CoupleMadagascar (Menabe region, Sakalava peoples),r7th-late i8th centuryWoodH. 39 in. (99 cm)Purchase, Lila Acheson Wallace, Danieland Marian Malcolm, and James J. RossGifts, zooi2001.408This Madagascar couple ranks as the foremostartistic achievement of a region at theconfluence of African and Pacific Island aestheticinfluences. Its quiet power and lyricallybalanced symmetry have made it one of therare works from southeastern Africa to havehad an impact on Western art. Created as thefinial of a freestanding exterior monument,this sculpture appears to have been designed asa pair with one in the Louvre that is attributedto the same artist. The Metropolitan's workwas known in Paris by the early twentieth centuryand entered the collection of the Britishsculptor Sir Jacob Epstein about 1922-23.The idea of the fundamental complementarityof man and woman that is so eloquentlydepicted in this iconic image is an importanttheme in Malagasy spiritual life. In this representationthe man is only slightly taller thanhis female companion, who balances a vesselon her head. Although frozen in a posture inwhich their calves are fused with the base ofthe capital while their hands are held to theirsides, they appear poised to come to life. Theimmediacy of the representation is underscoredby their intense facial expressions,which are dominated by deeply recessed eyesockets that engage the viewer.AL74

Male CorsetSudan (Dinka peoples), 2nd half of 2thcenturyGlass, fur, shell, and vegetable fiberL. (a) (center back) 30 in. (76.2 cm);1. (b) (center back) i6 in. (40.6 cm)Isabel Shults Fund, zooI20oo.177a, bThis extraordinary beaded corset is a rare theexample of the everyday wear of Dinka men.Because the Dinka peoples are herders, wanderingthe vast plains of southern Sudan,portable possessions are very important. Likemany southern and eastern African cultures,the Dinka have traditionally focused onthe human form as the primary method ofartistic expression.Because these garments are used to communicatecharacteristicsuch as gender, age,wealth, and ethnic affiliation, we can infei asignificant amount of information aboutpast wearer of this object. In particular,the red-and-black patterning indicates that thecorset was worn by a male between the agesof fifteen and twenty-five. The decoration ofcowries, along with the extreme height of theback, marks the wearer as someone of considerablewealth. The addition of the fur skirt(possibly cattle hair) is significant. The Dinka,who have traditionally gained their livelihoodfrom their herds, value their animals as asource of aesthetic inspiration and a link tothe spiritual world.As highly prized commodities, beads are asign of wealth and status among the Dinkapeoples. The polychrome glass beads thatmake up this garment are European, whilethe cowries and fur skirt are undoubtedly oflocal origin.EM75

ASIAGuanyin's lean physique and full, but notfleshy, face suggest a date in the early part ofthe twelfth century. The bodhisattva wears along skirt and full shawl, a thin scarf knottedat his chest, an elaborate pectoral, and anarmlet. A thin fillet, which supported a diadem,encircles his parted and braided hair.The hair, the textile-like designs on the edgesof the shawl, and the lion's mane, fur, andtail are all treated schematically, in accordancewith the rhythm of the overall composition.This elegant sculpture is one of two earlyChinese representations of Guanyin of theLion's Roar. The other, made of iron anddated III2, is in the collection of the KyotoNational Museum, Japan.DPLZhang JizhiChinese, ii86-I266Excerpt from "Song ofLeyou Park"Southern Song dynasty (1127-1279)Section of handscroll mounted as hanging scroll;ink on paperI23/x 30o8 in. (32.4 x 76.5 cm)Gift of Sylvan Barnet and William Burto,20002000.325Bodhisattva Seated on a LionChinese, Song (960-II27) orJin (1115--234)dynasty, ith-early i3th centuryPoplar with traces ofpolychromepigmentsH. 42 8 in. (107 cm)Purchase, The Dillon Fund Gift, in honorof Brooke Astor, oo0002000.270The upraised right and lowered left legs, aswell as the lionlike mount, identify the sculptureas Guanyin (in Sanskrit, Avalokiteshvara),the Bodhisattva of Compassion. After thetenth century this posture, known as "royalease," was standard in representations ofGuanyin in his paradise, believed to be MountPutuo, an island off the coast of southeastChina. The mount indicates that the sculpturerepresents Guanyin of the Lion's Roar(Simhanada Avalokiteshvara). The roar symbolizesboth a moment of transcendent understandingand the bodhisattva's supernal wisdom.Later Chinese images of Guanyin riding a crea-ture identified as a hou, meaning "roar," mayderive from this traditional manifestation.Zhang Jizhi, the last important Song calligrapher,was admired for his large-characterwriting, with its boldly contrasting blunt andsinuous brushstrokes and fluid ligatures thattrace the movement of the brush tip betweenstrokes. This work is the only example ofZhang's large-scale calligraphy outside of Asia.Although Zhang attained the top civil-service rank, he never held a high office. Hisfame as a calligrapher, however, spread to theJin empire in northern China and to Japan,where his writing was prized by Zen monks.This piece was once part of a long handscroll,transcribing a poem by Du Fu (712-770),that was carried to Japan and cut into sectionsfor display in a tokonoma. An outstandingexample of Zhang's large regular script, it wasvenerated primarily for its aesthetic qualities.This section was cut in such a manner thatthe phrasing of the original was lost. The twocouplets from which the segment comes maybe translated as follows (the text of the scrollis in italics):76The Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

Palace gates, open beneath clear skies,reveal a vast expanse;By the Serpentine are kingfisher curtainsarrayed with silver plaques.Skimming the water, back andforth, thedancers' sleeves flutter;Climbing to the clouds, crisp and clear,the singers' voices rise.MKHWang HuiChinese, I632-1717Yang JinChinese, 1644-1728Gu FangChinese, active ca. 1690-1720Wang YunChinese, i652-after I735Xu MeiChinese, active ca. 1690-1722Landscapes after Ancient MastersQing dynasty (1644-1911),Kangxi period(1662-1722), dated 1692Album ofsixteen paintings; ink and color onpaperEach ii X 12 8 in. (27.9 x 30.8 cm)Gift of Marie-Helene and Guy A. Weill,20002000.66. 2having recruited assistants and shaped theirstyle to conform to the orthodox manner,which epitomized scholarly taste at that time.This academic style became the hallmark ofall later Qing court commissions.The leaf illustrated here, Mountain Water-fall, is by Wang Hui's leading disciple, YangJin, who has inscribed it with a poem:For ten days spring clouds have obscuredthe stream's source;In the middle of the night a west windbrings rain to the [mountain's] foot.But I feel the urgent thunder roar in theempty valley,So from a distance I know that the myriadgorges are competing in their flows. MKHIn I69I Wang Hui, the leading artist of hisday, was summoned to Beijing to oversee thecreation of a mammoth imperial commissiondocumenting the Kangxi emperor's southerninspection tour of 1689. The painting, consistingof twelve monumental handscrolls, isthe largest pictorial work of the Qing dynasty.(The Metropolitan owns one scroll from thisset; acc. no. I979.5.) Since the finished setbears no artists' signatures or seals, it is onlythrough group works such as the Museum'snew acquisition that the identity of Wang'sartistic team can be established. The album,in which four younger artists from Wang'shome region practiced the methods of ancientartists, is a rare example of a master painter's77

Twelve-Panel ScreenChinese, Qing dynasty (1644-s9gi), Kangxiperiod (1662--722), late r7th centuryMother-of-pearl, lacquer, and gold-foil inlay(recto); colored lacquer andpaint (verso)9ft. 4/2 in. x 24ft. 8 in. (2.9 x 7.5 m)Purchase, The Vincent Astor FoundationGift, zoo002001.76a-1The use of mother-of-pearl for inlaid decora- scenestion on lacquer is common to the easternseaboard of the Asian continent and to Japan.In China this type of decoration is knownfrom about the eighth century B.C. In theearly twelfth century A.D. extremely thin shellsof the haliotis (abalone), which have a highdegree of iridescence, began to be used.Lacquer inlaid with mother-of-pearl reachedits peak of refinement in the seventeenth century,and this recently acquired large screenprovides an excellent example. The domesticin a palatial setting are depicted inmosaics of minute pieces of shell, oriented invarious directions to produce a polychromeeffect. Gold foil is used for highlights. Thewalls and rocks are rendered in crushedshells, creating a shimmering appearance.The verso is decorated in colored lacquerand oil-based pigments with a multitude ofbirds among blossoming trees and flowers.The pictorial style and subject matter of thedecoration on both sides are closely related tothose of contemporaneous woodblock prints.JCYW78Recto (detail)

Recto (detail)Verso (detail)79

that encircle her wrists. Above, another triadof sacred jewels rests on an open lotus, flankedby Chinese symbols of the complementaryforces of sun and moon.This transformation of the wrathfulHindu deva Dakini emerged within EsotericBuddhism in Japan. Originally a man-eatingdemoness, she was converted by the VairocanaBuddha into a powerful life-engenderingdeity. In the complex interaction of Buddhism,Shinto, and Taoist yin-yang practices inmedieval Japan, this icon embodied nearmagicalpowers of fecundity that wereinvoked not only in enthronement ritualsbut also in personal contexts. The mantraidentified with this deity was chanted toachieve control over the mind. Medieval talesrecount invocations of Dakiniten by bothmen and women to win position and favor atcourt, as well as in matters of the heart.BBFPlateChinese, Qing dynasty (1644-I911), ca. Ist thirdof i8th century"Chinese Imari"-style ware; porcelain paintedin underglaze blue and overglaze polychromeenamelsDiam. I9 2 in. (49.5 cm)Gift of Michael L. Rosenberg, zooI2001.362This plate is a splendid example of the fusionof Chinese and Japanese tastes that is sometimesfound in Chinese ceramics producedduring the early years of the eighteenth cen-tury. A distinctive five-claw imperial dragonchasing a flaming pearl, which exemplifiesearly-eighteenth-century Chinese dragons attheir finest, commands the center of this impressiveporcelain. The creature is improbablyjuxtaposed with an unmistakably Japanesestyleborder design, in which undulating linesform cloud-shaped cartouches containingbold kiku chrysanthemum sprays.The preeminent Jingdezhen kiln complexesin China's Jiangxi Province had beenchallenged by the commercial success of theso-called Imari porcelains that were beingexported in quantity to Europe from kilns inArita, Japan. Accordingly, they appropriatedthe Imari palette of underglaze blue, overglazeiron red, and gold, as well as many ofthe Imari designs, for the decoration of theirown "Chinese Imari" porcelains.In a further step enamels from theChinese famille verte palette were occasionallyadded to the primary colors of Imari porcelainsto create a new category of "ChineseImari"-style wares. In still another variant ofthis type of decoration, seen here, the goldof the original Japanese palette could becompletely omitted.SGVDakinitenJapanese, Nambokucho period (1333-92)Hanging scroll; ink, color, and gold on hemp29 2 X I3 in. (74.9 x 33 cm)Purchase, Friends of Asian Art Gifts, inhonor of Wen C. Fong, zooo2000.274As though a sudden apparition, a femaledeity in fluttering raiment splashes up aframe of foam on a billowing sea. Riding awhite fox on a cloud held aloft by a pair ofdragons, she clenches a vajra (thunderbolt)surmounted by a sword, a symbol of Buddhistpower. In her palm she cradles a triad ofsacred jewels, and others are scattered aroundher as abundant blessings. In her crown areauspicious protectors of the harvest: diminutivefoxes on coiled white snakes, like those80

Mandala of Han 'nya BosatsuJapanese, Muromachi period (1392-i573),i6th centuryHanging scroll; ink, color, and gold on silkImage 64 2 x 48 8 in. (I63.9 x I23.5 cm)Gift of Mary and Jackson BurkeFoundation, zooo2000.289This large hanging scroll depicts one of themost important Buddhist deities, Han'nyaBosatsu (in Sanskrit, Prajnaparamita Bodhisattva),the embodiment of transcendentalknowledge and perfect wisdom. Han'nyaBosatsu is only rarely represented at the centerof a mandala. The triad of the bosatsu,seated on a lotus pedestal on the back of alion, flanked by two standing figures, Bonten(Brahma) and Taishakuten (Indra)-originallyHindu gods-inhabits the innermostprecinct. The bosatsu'sixteen protectors(juroku zenshin) are more loosely distributedwithin the surrounding register. Far fromthe center of divinity in the outer register,carefree demonic guardians (kijin) guard eachof the sixteen protectors. Directional gates atthe centers of the sides provide entry fromthe secular to the sacred. Heavenly music-making beings (hiten) around the canopycelebrate Han'nya Bosatsu. At the bottom,in the center of the outermost register, is thefigure of a monk at worship, evoking thephysical world of time and space. Dragonsand a phoenix along the outermost bordersserve to protect the entire abstract realm.Mandalas like this one were necessaryaccoutrements for rituals dedicated to theattainment of greater wisdom.MW8i

impart a sense of auspicious connection toa great tradition. Although in practice the*|~ | ii _N1 | i | | | | |1~dances iare performed singly in slow, dramaticmovements set to stately music, their randomplacement and simultaneous appearancewithin the solid gold field on this screen conveya sense of joyous plenty in keeping withthe propitious nature of the theme. At leftmusicians play drums, flutes, and a mouthorgan on a dais covered by a large brocadeawning. The poses and costumes are basedon pictorial scrolls that transmitted theDetailclassic repertory.The artist Yasunobu established an imdeportantbranch of the Kano school in Edo(Tokyo). His large signature at upper leftincludes a title, H6gen Eishin (HonorableEishin), which he was awarded in i662 andused until his death in i685.BBFKano YasunobuyMJapanese, i6r3-i685Bugaku DancersEdo period (i06-i868), i662 65One of a pair of 6-panelfolding screens; mineralcolors, ink, and gold on gold-leafed paper5ft. 9gY in. x sr2 ft. 2aY in. (i. 8 x 3.7 m)Gift of James L. Greenfield, in memory ofMargaret Greenfield, 2ooo2000.453DetailSaddle (Kura)l^rg~~~~~~~~~~~~~~~~~~~Japanese,Edo period (6i5-_868), dated i658Wood, lacquer, abalone shell, and goldLi4.2 in. (36.8 cm)Purchase, Morihiro and Sumiko OgawaGift, in memory of Dr. Sato Kanzan, zooo02000.405Japanese saddles are distinguished by an ingeniouslysimple method of construction combinedwith a virtually inexhaustible range ofdecorative motifs. The construction consists,typically, of only four pieces of skillfullyExotic costumes, masks, and stylized movementmark the ritual dances known as bugaku,which have been customary at court andshrine festivals in Japan since the eighth century.Many of the dances preserve ChineseTang-dynasty (6i8-907) forms adopted inthe eighth century by the Nara court, butothers have roots in Japan, Korea, andSoutheast Asia. Performed on importantoccasions to please and pacify the gods, theyi82

shaped wood, which are held together bymortise-and-tenon joints and fastened inplace by hemp or leather lacing. The surfacesare covered in Japanese lacquer (urushi) andoften incorporate designs in gold or silver andinlays of ivory, mother-of-pearl, or abaloneshell. This saddle is a particularly fine exampleof black-and-gold lacquer with extensiveabalone-shell inlay. It is especially distinctive,as it is possibly the only example with inlayof this kind that is signed, dated, and madefor a known family. The underside is markedwith the as-yet-unidentified kao (seal or monogram)of the saddle maker and with the dateMeirekiyon sai (equivalent to I658). The outsideof the pommel and cantle is decorated ingold with the mon (heraldic insignia) of theNishio family, daimyo of Yokosuka, in presentdayShizuoka Prefecture. Delicate inlay coversmuch of the saddle and features designs of billowingwaves (seikaiha) and round blossomsset among lush scrolling vines (karakusa).DJLCane Shield with Iron FittingsTibetan, I4th-I6th centuryWood, iron, and brassDiam. 29 8 in. (75.9 cm)Purchase, Arthur Ochs Sulzberger Gift,20012001.55Cane shields are made of tight concentricrings of narrow, spirally wound wooden rods.They were widely used in both Persia andTurkey up to the eighteenth century and arewell represented in Islamic art and by manysurviving examples. It is less well known,however, that distinctive types of cane shieldswere also employed, perhaps from as early asthe fourteenth century, in Tibet, where theyremained as military equipment until theearly twentieth century and for ceremonialpurposes as late as the I95os. Despite theirlongevity, Tibetan cane shields with piercedand decorated iron fittings are extremely rare.The quality and complexity of their ironfittings vary widely. The fittings are bothornamental and practical: They strengthen theshield by making it more rigid. This exampleis one of the best preserved and more elaborateof its type. The iron fittings are closely relatedto those found on Tibetan leather boxes, certaintypes of wooden furniture, and a fewrare examples of leather armor. The shield isimportant, therefore, not only in terms of thehistory of Tibetan arms and armor, but alsofor its relationship to Tibetan metalwork andother decorative arts.Twenty-Five Initiation Cards (Tsakalis)Tibetan, late i3th to mid-I4th centuryOpaque watercolor on paperEach 64 X 5 34 in. (If.9 x 14.6 cm)Rogers Fund, zooo2000.282.1-.25DJLThis small painting is part of a set that wasprobably used during Buddhist initiationceremonies. Each has a letter on the back thatindicates the sequence in which the set isorganized. The first group forms a meditationmandala. It is centered on the five Tathagatas,or celestial Buddhas, and has four "gatekeepers"(guardians of the directions) stationedat its perimeter. In this group all ofthe deities of the mandala are associated withVajrasattva, the sixth and ultimate Buddha.The bodhisattva Samantabhadr and hisconsort, Samantabhadri, who appear on individualcards, indicate that the set was probablymade for the Nyingma (Elder) school ofTibetan Buddhism. The next two cards wereemployed during the actual initiation rite,while the last group corresponds to the sixrealms of being. Uncharacteristically fortsakalis, the cards are painted in the Nepalesestyle, probably by a Newar artist.SMK2000.282.1683

A Selection from the Samuel EilenbergCollectionSoutheast Asian (Thailand and Indonesia),Bronze and Iron Ages, ca. 500oo B. C.-A.D. 300Bronze and earthenwareH. (large container) 8Ys in. (22.5 cm)Samuel Eilenberg Collection, Bequest ofSamuel Eilenberg, 19982000.284.55,42 .42, .4;53, b; .47In Samuel Eilenberg's major gift of sixtysevenSouth and Southeast Asian works ofart, including Chola-period (846-1279) sculpturesand other Indian and Pakistani works,the most significant part, in terms of art historyand the needs of our collection, datesfrom the Southeast Asian Bronze and IronAges (ca. 500 B.C.-A.D. 300). Older than theearliest Buddhist and Hindu bronze sculpturesfrom Southeast Asia, the objects in theEilenberg Collection demonstrate the superbcraftsmanship and technological expertisedeveloped early on in the area.This Bronze Age culture is usually referredto as the "Dongson," after a village in northernVietnam excavated by French archaeolo-gists in the I930s. Parallel Bronze Age culturesin Indonesia and Thailand share a vocabularyof similar motifs and shapes, which rangefrom large bronze drums, often with figuraldecorations, found mostly in Vietnam, to themore widely distributed bracelets and otherobjects with bold spiral designs. There is alsoa stylistic affiliation with bronzes of the Diankingdom in Yunnan, China.The Eilenberg gift, along with a few important"Dongson"-culture bronzes acquired fromother sources, makes the Museum's collectionvirtually unrivaled in the Western world forthe study of this material.ML84

Standing Female DeityCambodian, Pre-Angkorperiod, style of PrasatAndet, ca. last quarter of 7th-beginning of8th centuryStoneH. 52 4 in. (134 cm)Purchase, Rogers Fund and AnonymousGift, in honor of Martin Lerner, zooo2000.531This wonderful female deity, probably theHindu goddess Durga, not only broadensexponentially the range of the Museum'sCambodian collection but adds a new dimensionto our Southeast Asian holdings. It is thelargest and most important Pre-Angkorperiod(6th-early 9th century) sculpture of afemale deity to appear on the market in morethan thirty years.The four-armed deity wears a cylindricalmiter and a long sarong. This garment issecured at the waist, and the cloth hangingdown in front doubles over and is tucked inat the waist, forming a looped drapery motif.The conception of the female formslim-waisted and full-bodied, with amplebreasts and thighs suggestive of fecundity andpotential motherhood-follows early Indianprecedents. Here the large, full, taut breastsand the youthful face indicate a female justreaching maturity. The posture is subtle,with a projecting right knee and a slight swaybreaking the symmetry of the stance. The goddess'sexpression radiates an aura of sublimemajesty-commanding yet enigmatic.This sculpture retains much of its originalhigh polish, and the contrasts between smooth,bare skin, the incised compression of fleshbeneath the breasts, and the decorative draperymotifs add visual interest to the surface. Themodeling is superb, and there is a brilliant balanceand harmony of volumes and proportions.Part of the original supporting arch canbe seen at the back, at the top of the miter.ML85

Donors of Gifts of Works of Artor of Funds for Acquisition of Works of ArtJuly I, zooo-June 30, 2001Abraham FoundationAlexander and Helene AbrahamMr. and Mrs. Warren J. AdelsonAdvance Magazine Publishers Inc.Liz Alderman and Merry AldermanHarriett Ames Charitable TrustMr. and Mrs. Walter H. AnnenbergIda ApplebroogThe Appleman Foundation, Inc.Pierre ApraxinePlacido ArangoBernard and Audrey AronsonCharitable TrustE. Nelson AsielRonald R. AtkinsRichard AvedonJill BakerWalter BareissSaretta BarnetSylvan Barnet and Will BurtoWill and Elena BarnetNeal BarrBill Barrette and Christine LilyquistThe Barrington Foundation, Inc.Sandra Buhai BarzMr. and Mrs. Sid R. BassBea and Mitchell BayerMs. Terry BeckDeborah S. BeckerRenee and Robert BelferJeffrey BergenCarmel BerksonMartha and Robert BernsteinRobert Gifford Berry andChristiane Laus BerryBeta Research CorporationSasha BezzubovPatti Cadby BirchDolores Dembus BittlemanLeon and Debra BlackNelson BlitzBastiaan BlokAnthony and Lois BlumkaWilliam J. BolgerAnne and Jean BonnaVirginia Wagoner BoothWard and Lynn BotsfordRose-Helen Breinin andGoodwin M. BreininCynthia and Steven BrillMr. and Mrs. Kevin R. BrineChristopher and Barbara Brody FundMr. and Mrs. John S. Brown, Jr.Mrs. Moreau D. Brown, Jr.Sally and Thatcher BrownMrs. William F. BuckleyMr. and Mrs. James E. BurkeMary and Jackson Burke FoundationMr. and Mrs. Walter BurkeLynn H. ButlerSophie Calle and OlivierRenaud-ClementDouglass CampbellMrs. Korda Herskovits CaplanCassina USAVera Chopak de ChamplainCharina Foundation, Inc.Judith ChildsEva and Michael ChowJane and Mark CiabattariLouis & Virginia ClementeFoundation, Inc.Mrs. Merritt A. ClevelandJoseph and Barbara CohenKaren B. CohenMarian and James H. CohenThe Concordia FoundationConner Rosenkranz LLCVirginia E. ConsiglioWilliam J. ConteJoyce and Jay CooperThe Cowles Charitable TrustCranshaw CorporationMrs. Gisele CroesWendy CromwellThomas F. and Shelia P. CummingsPaul and Paulette CushmanPaula CussiCourtney C. DallaireFrank D'AmoreNatalie T. DarcyMavis H. and Philip J. C. DarkMartin J. DavidsonMr. and Mrs. Michel David-WeillTammis DayRuth J. DeanAnn DemeulemeesterPaul and Gregory DemirjianDickinson Roundell, Inc.Charles and Valerie DikerThe Dillon FundThe Dobson Foundation Inc.Doing Art Together, Inc.Douglas Elliman-Gibbons & IvesDouglass FoundationJames David DraperNorman DubrowJennifer and Joseph DukeElizabeth F. EckEric EfstathiouBequest of Samuel EilenbergJohn B. Elliott through the Mercer TrustThe Charles Engelhard FoundationMrs. Richard EttinghausenRichard & Rebecca Evans FoundationDr. and Mrs. Burton P. FabricandBequest of Mr. and Mrs. Myron S. FalkLola FaturotiWysse FeiningerMartha FeltensteinPeter R. FeuchtwangerLawrence M. FieldsMrs. Lawrence A. FleischmanMartha J. FleischmanErnest L. FolkNancy FordBarbara M. FosterMr. and Mrs. John H. FosterHoward A. and Barbara E. FoxGray FoyMrs. Daniel FraadFranklin Industries, Inc.Deborah W. FrazerEvan W. Frazer Jr.John A. FrazerDavid W. and Magda FriedThe Fried FoundationAdam FussEdward J. Gallagher Jr. Foundation, Inc.Giuseppe Gazzoni-FrascaraStephen A. GeigerThe Honorable Sir David andLady GibbonsGeorgina Claudet GilchristCora GinsburgDiana and Carl GiusepponeDee Dee and Herbert GlimcherGeorge J. GockelCarol and Arthur GoldbergHorace W. Goldsmith FoundationWilliam B. Goldstein M.D.Mr. and Mrs. Yves GonnetToni K. GoodaleMs. Elizabeth Marsteller GordonJohn Stuart GordonPeter GottesmanDan GrahamJames L. GreenfieldMrs. Priscilla GrigasChristopher C. Grisanti andSuzanne P. FawbushSteven and Phyllis GrossMr. and Mrs. Martin D. GrussGucciJeff GuerrierGulton Foundation, Inc.John GutmannAlvin D. HallMichael E. Hall, Jr.John V. HansenSuzanne and Norman HascoeJ. William Heath, Jr., andRichard A. HeathBernhard HeitmannHeller IncorporatedFrank D. HendersonThe Henfield FoundationKatrin HenkelMs. Judith HernstadtMr. and Mrs. Raymond HerrmannNeil C. S. HirschMaurine Holbert HogaboomThomas S. C. Holberton Jr.Mary Tavener HolmesRoger Holt, M.D.George L. and Elizabeth U. HooblerMr. and Mrs. Joseph C. Hoopes Jr.Raymond J. HorowitzSir Joseph HotungJohn K. HowatThe Isaacson-Draper FoundationMary and Michael JaharisThomas Jayne Studio, Inc.Lisa Papamarkou JewellAlexander B. V. Johnson andRoberta J. M. OlsonFrances Claudet JohnsonAnne K. JonesLucille and Martin E. KantorBequest of Hertha KatzMuriel McBrien Kauffman FoundationDonald KeeneNanette B. KelekianMr. and Mrs. Stephen M. KellenMr. and Mrs. Robert KellerMr. and Mrs. Alvin B. KernanMrs. Joseph H. KingY. K. Wang King and Kenneth KingMark E. and Anla Cheng KingdonFoundationJohn C. KirschRuth & Seymour Klein Foundation Inc.Virgilia Pancoast Klein andWalter C. KleinThe Walter C. Klein Foundation, Inc.Mr. and Mrs. David H. KochRobert KochAlan W. KornbergGeorge P. KramerMilton and Fradie KramerMr. and Mrs. Joseph KriegerKurtz Family Foundation, Inc.Robert and Anita LaGammaIsaac LagnadoKenneth S. LamJon LandauLeonard A. LauderMrs. Jerome Lauren86The Metropolitan Museum of Artis collaborating with JSTOR to digitize, preserve, and extend access toThe Metropolitan Museum of Art Bulletin ®www.jstor.org

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STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATIONPublication title: THE METROPOLITAN MUSEUM OF ART BULLETINPublication no.: 885-660Date offiling: October I, 2001Issue frequency: QuarterlyNo. of issues published annually: FourAnnual subscription price: $25.00, or free to Museum MembersComplete mailing address of known office ofpublication: IOOO Fifth Avenue, New York, N.Y. I0028-OI98Complete mailing address of headquarters or general business office ofpublisher:Ioo0 Fifth Avenue, New York, N.Y. 10028-0198Full names and addresses ofpublisher, editor, and managing editor:Publisher: The Metropolitan Museum of Art, IOOO Fifth Avenue, New York, N.Y. 10028-0198Editor: Joan Holt, Ioo0 Fifth Avenue, New York, N.Y. I0028-0198Managing Editor: NoneOwner: The Metropolitan Museum of Art, Ioo0 Fifth Avenue, New York, N.Y. 10028-0198Known bondholders, mortgages, and other security holders owning or holding one percentor more of the local amount of bonds, mortgages, and other securities: NoneTax status: The purpose, function, and nonprofit status of this organization and the tax-exemptstatus for federal income tax purposes have not changed during the preceding 12 months.Average number of copies Single issues nearestduring preceding 12 months to filing date(Oct. oo-Sept. OI) (July o)A. Total copies printed (net press run) 122,728 I26,930B. Paid and/or requested circulationI. Paid and/or requested outside-countymail subscriptions 72,658 73,3022. Paid in-county subscriptions 32,485 34,2223. Sales through dealers, carriers, street vendors,counter sales, and other non-USPS None None4. Other classes mailed through USPS 7,794 7,750C. Total paid and/or requested circulation II2,937 I15,274D. Free distribution by mailI. Outside-county None None2. In-county None None3. Other classes mailed through USPS 180 I95E. Free distribution outside the mail 6,486 6,o80F. Total free distribution (sum of Di, D2, D3, and E) 6,666 6,275G. Total distribution (sum of C and F) 19,603 I21,549H. Copies not distributed 3,125 5,381I. Total (sum of G and H) I22,728 I26,930J. Percentage paid and/or requested circulation 94.43% 94.84%