LaurieAnnie's photos

Title: Marble statue of a seated muse Period: Imperial Date: 1st or 2nd century CE Culture: Roman Medium: Marble, Pentelic Dimensions: H. as restored 66 in. (167.7 cm.) Classification: Stone Sculpture Credit Line: Gift of Mrs. Frederick F. Thompson, 1903 Accession Number: 03.12.16 Copy of a Greek statue of the 3rd century B.C. Seated on a rock, with her head resting on her right hand, this muse was probably part of a group of statues showing a musical contest between the boastful satyr Marsyas and the god Apollo. The statue was part of the collection of antiquities acquired in Rome by the Marchese Vincenzo Giustiniani during the first third of the seventeenth century. Text from: www.metmuseum.org/art/collection/search/247003

Title: Marble statue of a seated muse Period: Imperial Date: 1st or 2nd century CE Culture: Roman Medium: Marble, Pentelic Dimensions: H. as restored 66 in. (167.7 cm.) Classification: Stone Sculpture Credit Line: Gift of Mrs. Frederick F. Thompson, 1903 Accession Number: 03.12.16 Copy of a Greek statue of the 3rd century B.C. Seated on a rock, with her head resting on her right hand, this muse was probably part of a group of statues showing a musical contest between the boastful satyr Marsyas and the god Apollo. The statue was part of the collection of antiquities acquired in Rome by the Marchese Vincenzo Giustiniani during the first third of the seventeenth century. Text from: www.metmuseum.org/art/collection/search/247003

Title: Marble statue of a seated muse Period: Imperial Date: 1st or 2nd century CE Culture: Roman Medium: Marble, Pentelic Dimensions: H. as restored 66 in. (167.7 cm.) Classification: Stone Sculpture Credit Line: Gift of Mrs. Frederick F. Thompson, 1903 Accession Number: 03.12.16 Copy of a Greek statue of the 3rd century B.C. Seated on a rock, with her head resting on her right hand, this muse was probably part of a group of statues showing a musical contest between the boastful satyr Marsyas and the god Apollo. The statue was part of the collection of antiquities acquired in Rome by the Marchese Vincenzo Giustiniani during the first third of the seventeenth century. Text from: www.metmuseum.org/art/collection/search/247003

Title: Marble statue of a seated muse Period: Imperial Date: 1st or 2nd century CE Culture: Roman Medium: Marble, Pentelic Dimensions: H. as restored 66 in. (167.7 cm.) Classification: Stone Sculpture Credit Line: Gift of Mrs. Frederick F. Thompson, 1903 Accession Number: 03.12.16 Copy of a Greek statue of the 3rd century B.C. Seated on a rock, with her head resting on her right hand, this muse was probably part of a group of statues showing a musical contest between the boastful satyr Marsyas and the god Apollo. The statue was part of the collection of antiquities acquired in Rome by the Marchese Vincenzo Giustiniani during the first third of the seventeenth century. Text from: www.metmuseum.org/art/collection/search/247003

Title: Marble statue of a seated muse Period: Imperial Date: 1st or 2nd century CE Culture: Roman Medium: Marble, Pentelic Dimensions: H. as restored 66 in. (167.7 cm.) Classification: Stone Sculpture Credit Line: Gift of Mrs. Frederick F. Thompson, 1903 Accession Number: 03.12.16 Copy of a Greek statue of the 3rd century B.C. Seated on a rock, with her head resting on her right hand, this muse was probably part of a group of statues showing a musical contest between the boastful satyr Marsyas and the god Apollo. The statue was part of the collection of antiquities acquired in Rome by the Marchese Vincenzo Giustiniani during the first third of the seventeenth century. Text from: www.metmuseum.org/art/collection/search/247003

Title: Marble statue of a seated muse Period: Imperial Date: 1st or 2nd century CE Culture: Roman Medium: Marble, Pentelic Dimensions: H. as restored 66 in. (167.7 cm.) Classification: Stone Sculpture Credit Line: Gift of Mrs. Frederick F. Thompson, 1903 Accession Number: 03.12.16 Copy of a Greek statue of the 3rd century B.C. Seated on a rock, with her head resting on her right hand, this muse was probably part of a group of statues showing a musical contest between the boastful satyr Marsyas and the god Apollo. The statue was part of the collection of antiquities acquired in Rome by the Marchese Vincenzo Giustiniani during the first third of the seventeenth century. Text from: www.metmuseum.org/art/collection/search/247003

Title: Bronze statuette of a god, possibly Poseidon Period: Hellenistic Date: 3rd–2nd century BCE Culture: Greek Medium: Bronze Dimensions: Diam.: 9 3/16 in. (23.4 cm) Classification: Bronzes Credit Line: Fletcher Fund, 1926 Accession Number: 26.60.65 Nude bearded man may represent Poseidon or a river god. Text from: www.metmuseum.org/art/collection/search/252529

Title: Bronze statuette of a god, possibly Poseidon Period: Hellenistic Date: 3rd–2nd century BCE Culture: Greek Medium: Bronze Dimensions: Diam.: 9 3/16 in. (23.4 cm) Classification: Bronzes Credit Line: Fletcher Fund, 1926 Accession Number: 26.60.65 Nude bearded man may represent Poseidon or a river god. Text from: www.metmuseum.org/art/collection/search/252529

Title: Sprite Artist: Frank Lloyd Wright (American, Richland Center, Wisconsin 1867–1959 Phoenix, Arizona) Artist: Alfonso Iannelli (American, Andretta, Italy 1888–1965 Chicago) Date: ca. 1914 Geography: Made in Chicago, Illinois, United States Culture: American Medium: Painted cement Dimensions: 65 x 14 x 12 in. (165.1 x 35.6 x 30.5 cm) Credit Line: Gift of Mr. and Mrs. John T. Steele, 1979 Object Number: 1979.304 "Sprite" was originally part of a large sculpture program for Wright’s Midway Gardens in Chicago. Built for Edward C. Waller Jr. and Oscar Friedman in 1914, the complex was designed as an entertainment center. Interior and exterior areas provided for dining, dancing, and concerts, but the complex declined into a common beer garden within two years of its opening. With the advent of Prohibition in 1920, it was converted for other uses; in 1929, it was demolished. Iannelli was noted for his poster designs as well as for his architectural and decorative sculpture. Strongly tectonic, the figure is composed of motifs commonly found in Wright's architectural ornament. The faceting of the face is closely tied to Cubism, a movement that had gained international influence by 1914. Text from: www.metmuseum.org/art/collection/search/11204

Title: Sprite Artist: Frank Lloyd Wright (American, Richland Center, Wisconsin 1867–1959 Phoenix, Arizona) Artist: Alfonso Iannelli (American, Andretta, Italy 1888–1965 Chicago) Date: ca. 1914 Geography: Made in Chicago, Illinois, United States Culture: American Medium: Painted cement Dimensions: 65 x 14 x 12 in. (165.1 x 35.6 x 30.5 cm) Credit Line: Gift of Mr. and Mrs. John T. Steele, 1979 Object Number: 1979.304 "Sprite" was originally part of a large sculpture program for Wright’s Midway Gardens in Chicago. Built for Edward C. Waller Jr. and Oscar Friedman in 1914, the complex was designed as an entertainment center. Interior and exterior areas provided for dining, dancing, and concerts, but the complex declined into a common beer garden within two years of its opening. With the advent of Prohibition in 1920, it was converted for other uses; in 1929, it was demolished. Iannelli was noted for his poster designs as well as for his architectural and decorative sculpture. Strongly tectonic, the figure is composed of motifs commonly found in Wright's architectural ornament. The faceting of the face is closely tied to Cubism, a movement that had gained international influence by 1914. Text from: www.metmuseum.org/art/collection/search/11204

Title: Fecundity Figure Period: Late Period Dynasty: Dynasty 30 Reign: reign of Nectanebo II Date: 360–343 B.C. Geography: From Egypt, Central Delta, Sebennytos (Sammanud) Medium: Diorite Dimensions: H. 85 × W. 68 cm (33 7/16 × 26 3/4 in.) Credit Line: Rogers Fund, 1912 Object Number: 12.182.4b The city of Sebennytos (Sammanud) in the central Delta was the origin place of the kings of Dynasty 30. Remains indicate that they undertook a major temple to the god Onuris-Shu there. After the hiatus of the second Persian invasion, the work was continued by Alexander the Great’s immediate successors in order to identify themselves closely with the native dynasty. The temple was built of hard stone and apparently had granite columns over thirty feet high. Fecundity figures like this one often decorate the lowest register of temple walls, where they represent the fertility of the nomes of Egypt being rendered to the gods. The original scene would have shown a file of fecundity figures in compartments in between the slightly raised bands of inscription. This figure bears one of the names of Nectanebo II on the offering table, and another cartouche of the king appears in the inscription along with the name of Onuris-Shu, lord of Sebennytos. In an unusual touch, the figure’s heel dips below the ground line of the relief. Text from: www.metmuseum.org/art/collection/search/551787

Title: Fecundity Figure Period: Late Period Dynasty: Dynasty 30 Reign: reign of Nectanebo II Date: 360–343 B.C. Geography: From Egypt, Central Delta, Sebennytos (Sammanud) Medium: Diorite Dimensions: H. 85 × W. 68 cm (33 7/16 × 26 3/4 in.) Credit Line: Rogers Fund, 1912 Object Number: 12.182.4b The city of Sebennytos (Sammanud) in the central Delta was the origin place of the kings of Dynasty 30. Remains indicate that they undertook a major temple to the god Onuris-Shu there. After the hiatus of the second Persian invasion, the work was continued by Alexander the Great’s immediate successors in order to identify themselves closely with the native dynasty. The temple was built of hard stone and apparently had granite columns over thirty feet high. Fecundity figures like this one often decorate the lowest register of temple walls, where they represent the fertility of the nomes of Egypt being rendered to the gods. The original scene would have shown a file of fecundity figures in compartments in between the slightly raised bands of inscription. This figure bears one of the names of Nectanebo II on the offering table, and another cartouche of the king appears in the inscription along with the name of Onuris-Shu, lord of Sebennytos. In an unusual touch, the figure’s heel dips below the ground line of the relief. Text from: www.metmuseum.org/art/collection/search/551787

Title: Fecundity Figure Period: Late Period Dynasty: Dynasty 30 Reign: reign of Nectanebo II Date: 360–343 B.C. Geography: From Egypt, Central Delta, Sebennytos (Sammanud) Medium: Diorite Dimensions: H. 85 × W. 68 cm (33 7/16 × 26 3/4 in.) Credit Line: Rogers Fund, 1912 Object Number: 12.182.4b The city of Sebennytos (Sammanud) in the central Delta was the origin place of the kings of Dynasty 30. Remains indicate that they undertook a major temple to the god Onuris-Shu there. After the hiatus of the second Persian invasion, the work was continued by Alexander the Great’s immediate successors in order to identify themselves closely with the native dynasty. The temple was built of hard stone and apparently had granite columns over thirty feet high. Fecundity figures like this one often decorate the lowest register of temple walls, where they represent the fertility of the nomes of Egypt being rendered to the gods. The original scene would have shown a file of fecundity figures in compartments in between the slightly raised bands of inscription. This figure bears one of the names of Nectanebo II on the offering table, and another cartouche of the king appears in the inscription along with the name of Onuris-Shu, lord of Sebennytos. In an unusual touch, the figure’s heel dips below the ground line of the relief. Text from: www.metmuseum.org/art/collection/search/551787

Title: Fecundity Figure Period: Late Period Dynasty: Dynasty 30 Reign: reign of Nectanebo II Date: 360–343 B.C. Geography: From Egypt, Central Delta, Sebennytos (Sammanud) Medium: Diorite Dimensions: H. 85 × W. 68 cm (33 7/16 × 26 3/4 in.) Credit Line: Rogers Fund, 1912 Object Number: 12.182.4b The city of Sebennytos (Sammanud) in the central Delta was the origin place of the kings of Dynasty 30. Remains indicate that they undertook a major temple to the god Onuris-Shu there. After the hiatus of the second Persian invasion, the work was continued by Alexander the Great’s immediate successors in order to identify themselves closely with the native dynasty. The temple was built of hard stone and apparently had granite columns over thirty feet high. Fecundity figures like this one often decorate the lowest register of temple walls, where they represent the fertility of the nomes of Egypt being rendered to the gods. The original scene would have shown a file of fecundity figures in compartments in between the slightly raised bands of inscription. This figure bears one of the names of Nectanebo II on the offering table, and another cartouche of the king appears in the inscription along with the name of Onuris-Shu, lord of Sebennytos. In an unusual touch, the figure’s heel dips below the ground line of the relief. Text from: www.metmuseum.org/art/collection/search/551787

Title: Palm-leaf Manuscript Storage Box Date: early 19th century Culture: Thailand Medium: Lacquered wood with mother-of-pearl inlay; brass hinges and keyed lock. Dimensions: H. 4 1/2 in. (11.4 cm); W. 24 1/2 in. (62.2 cm); D. 4 1/2 in. (11.4 cm) Classification: Lacquer Credit Line: Gift of Maxine N. Dunitz, 2017 Accession Number: 2017.379 The workmanship and artistry of this manuscript box is of the highest quality, akin to secular objects made for court use in the early Bangkok period. This art form was especially refined in the early to mid-19th century, especially during the reign of Rama III (1824-51). The technique seen here is faultless, the carving of the individual plates of mother-of-pearl is uniformly refined and sophisticated. This workmanship belongs in the finest category of royal workshop production of the early 19th century, the apogee of Siamese mother-of-pearl production. Text from: www.metmuseum.org/art/collection/search/73333

Title: Palm-leaf Manuscript Storage Box Date: early 19th century Culture: Thailand Medium: Lacquered wood with mother-of-pearl inlay; brass hinges and keyed lock. Dimensions: H. 4 1/2 in. (11.4 cm); W. 24 1/2 in. (62.2 cm); D. 4 1/2 in. (11.4 cm) Classification: Lacquer Credit Line: Gift of Maxine N. Dunitz, 2017 Accession Number: 2017.379 The workmanship and artistry of this manuscript box is of the highest quality, akin to secular objects made for court use in the early Bangkok period. This art form was especially refined in the early to mid-19th century, especially during the reign of Rama III (1824-51). The technique seen here is faultless, the carving of the individual plates of mother-of-pearl is uniformly refined and sophisticated. This workmanship belongs in the finest category of royal workshop production of the early 19th century, the apogee of Siamese mother-of-pearl production. Text from: www.metmuseum.org/art/collection/search/73333