BGuthrie Photos: MD -- Baltimore -- Walters Art Museum -- Exhibit:

BGuthrie Photos: MD -- Baltimore -- Walters Art Museum -- Exhibit: MD -- Baltimore -- Walters Art Museum -- Exhibit: :

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. WALBOO_191103_01.JPG: The following pictures are from the page 2019_MD_Walters_BooksAN MD -- Baltimore -- Walters Art Museum -- Exhibit: From Mucha To Morris: Books of the Art Nouveau (10 photos from 2019)
  From Mucha To Morris: Books of the Art Nouveau
2. WALBOO_191103_03.JPG: Voyage around His Room Author: Octave Uzanne Binder: Petrus Ruban 1896 Paris, France
3. WALBOO_191103_06.JPG: The Winged Sandal Author: Henri de Regnier Artist: Antoine Calbet Binder: Leon Gruel 1914 Paris, France
4. WALBOO_191103_11.JPG: Halrartes, Poem in Prose with original watercolor by Paul Gervais Author: Emphraim Mikhael Artist: Paul Gervais Binder: Leon Gruel 1904 Paris, France
5. WALBOO_191103_17.JPG: Under the Hill Illustrator and author: Aubrey Beardley 1904 London, England, United Kingdom
6. WALBOO_191103_24.JPG: A Book of Fifty Drawings Author: Aubrey Beardsley 1897 London, England, United Kingdom
7. WALBOO_191103_28.JPG: The Works of Geoffrey Chaucer Author: Geoffrey Chaucer Artist-printer: William Morris Artist: Edward Burne-Jones Engraver: W.H. Hooper 1896 Hammersmith, England, United Kingdom
8. WALBOO_191103_31.JPG: A Wonder Book for Girls and Boys Author: Nathaniel Hawthorne Artist: Walter Craane 1893 Boston, Massachusetts, USA
9. WALBOO_191103_34.JPG: The Song of Solomon Artist: Herbert Granville Fell Publisher: The Guild of Women Binders Illustrations hand-colored by Gloria Cardew No. 92 of 100 copies on Japanese paper 1897 London, England, United Kingdom
10. WALCER_191103_001.JPG: The following pictures are from the page 2019_MD_Walters_Ceramics MD -- Baltimore -- Walters Art Museum -- Exhibit: Ceramics: Materials and Techniques (65 photos from 2019)
11. WALCER_191103_013.JPG: Seraphim Fujikasa Satoko, 2015
12. WALCER_191103_022.JPG: RED
13. WALCER_191103_035.JPG: Red of Rubies
14. WALCER_191103_066.JPG: Pseudo-Panathenaic Amphora Greek, ca 500-485 BCE
15. WALCER_191103_079.JPG: Materials & Techniques
16. WALCER_191103_086.JPG: Hugo 2010-1 (Petal 2010-1) Fujino Sachiko, 2010
17. WALCER_191103_093.JPG: Global Connections
18. WALCER_191103_119.JPG: Discovery, Secrets & Espionage: The Quest for Porcelain
19. WALCER_191103_122.JPG: High Jar, 1755-56 Chelsea Porcelain Factory, England
20. WALCER_191103_129.JPG: Chinese Blue-and-White: A Global Obsession
21. WALCER_191103_140.JPG: Vase with Dragons and Floral Patterns China, 1573-1619
22. WALCER_191103_153.JPG: Making, Breaking & Mending
23. WALCER_191103_159.JPG: Changing Our Perspective
24. WALCER_191103_171.JPG: When Is an Object Worth Saving?
25. WALCER_191103_174.JPG: Scroll Jar with Lid Israel, 1st century BCE - late 1st century CE
26. WALCER_191103_178.JPG: Skyphos (Cup) with Dancer and Komast (Drunken Reveller) Greece, 475-450 BCE
27. WALCER_191103_185.JPG: Octagonal Lantern Depicting the Procession of the Eight Taoist Immortals China, 1662-1722
28. WALCER_191103_188.JPG: Bowl with Seated King and Queen Iran, 12th-13th century
29. WALCER_191103_190.JPG: The Forger's Art
30. WALCER_191103_203.JPG: Sketching in Clay La Fardeau (The Heavy Burden) Honore Daumier, ca 1850
31. WALCER_191103_211.JPG: The Artist's Hand at Work: Methods of Making
32. WALCJC_191103_01.JPG: The following pictures are from the page 2019_MD_Walters_Contemp MD -- Baltimore -- Walters Art Museum -- Exhibit: Contemporary Japanese Ceramics (14 photos from 2019)
33. WALCJC_191103_04.JPG: Contemporary Japanese Ceramics From the Betsy and Robert Feinberg Collection
34. WALCJC_191103_17.JPG: Flower Vase with Pine Design, ca 2002 Takeda Toshio, Japanese
35. WALCJC_191103_26.JPG: Ash-Glazed Scooped-Out Water Jar and Lid, 2006 Kaneta Masanao
36. WALCJC_191103_33.JPG: Auspicious Flower Design Vase, 1996 Wada Morohiro, Japanese
37. WALGL1_191103_001.JPG: The following pictures are from the page 2019_MD_Walters_Glasgow MD -- Baltimore -- Walters Art Museum -- Exhibit: Designing the New: Charles Rennie Mackintosh and the Glasgow Style (253 photos from 2019)
  Designing the New: Charles Rennie Mackintosh and the Glasgow Style
38. WALGL1_191103_015.JPG: The Glasgow School of Art: north elevation, March 1897 Designed by Charles Rennie Mackintosh
39. WALGL1_191103_024.JPG: High-backed chair for Miss Cranston's Ingram Street Tearooms, Glasgow, 1900 Designed by Charles Rennie Mackintosh
40. WALGL1_191103_034.JPG: Charles Rennie Mackintosh, 1893
41. WALGL1_191103_038.JPG: The Young Mackintosh's Glasgow
42. WALGL1_191103_042.JPG: The Corporation Art Galleries, Sauchiehall Street Glasgow, 1859 Mark Dessurne
43. WALGL1_191103_046.JPG: Collection stand from Dowanhill United Presbyterian Church, 1866 Designed by William Leiper
44. WALGL1_191103_050.JPG: Illustrations for William Morris's The Story of the Glittering Plain, ca 1893 Chapter III: The Warriors of the Raven Search the Seas Drawings by Walter Crane
45. WALGL1_191103_052.JPG: Illustrations for William Morris's The Story of the Glittering Plain, ca 1893 Chapter X: They Hold Converse with Folk of the Glittering Pain Drawings by Walter Crane
46. WALGL1_191103_056.JPG: Program for the Third Annual Reunion of Past and Present Students of The Glasgow School of Art at the Corporation Galleries, 1889
47. WALGL1_191103_059.JPG: Program for the Students' Annual Reunion of The Glasgow School of Art and Haldane Academy at the Corporation Galleries, 1888
48. WALGL1_191103_062.JPG: Study of a Carpet, July 1891 Charles Rennie Mackintosh
49. WALGL1_191103_067.JPG: Iznik-ware tile, mid-16th century Made in Anatolia, Turkey
50. WALGL1_191103_070.JPG: Hexagonal Damascus tile, ca 17th century Made in Damascus, Syria
51. WALGL1_191103_072.JPG: Learning from Islamic Cultures
52. WALGL1_191103_078.JPG: Four tiles: The Elements -- Fire, Air, Water, and Earth (Ignis, Zephyria, Acqua, Terra), ca 1877 Designed by Walter Crane
53. WALGL1_191103_085.JPG: Panel with carved Gothic forms
54. WALGL1_191103_088.JPG: Learning from the Art of the Past
55. WALGL1_191103_091.JPG: Caledonia Road Church, Gorbals, Glasgow, 1856 Alexander "Greek" Thompson
56. WALGL1_191103_096.JPG: Goblet of Venetian "Vario Pinto" glass, 1888 Salviati, Venice, Italy
57. WALGL1_191103_100.JPG: Replica of an ancient Roman bowl in the Vatican Museums, made in the 1890s
58. WALGL1_191103_106.JPG: Electrotype Replica of a 16th-century German (Nuremberg) ewer in the Louvre Museum, Paris, made ca 1878
59. WALGL1_191103_111.JPG: Learning from the Art of the Past
60. WALGL1_191103_113.JPG: 1868-92 The Young Mackintosh's Glasgow
61. WALGL1_191103_126.JPG: Sheet of fusuma-gami (door paper), mid-1870s Shichigoro Koizumi, Tokyo, Japan
62. WALGL1_191103_135.JPG: The Japanese Exchange with Glasgow
63. WALGL1_191103_141.JPG: Sketch: House at Corner of McLeod Street, 1889 Charles Rennie Mackintosh
64. WALGL1_191103_148.JPG: Study drawing: Some Norman Work from Berkshire, ca 1884 Talwin Morris
65. WALGL1_191103_159.JPG: Glasgow Cathedral at Sunset, 1890 Charles Rennie Mackintosh
66. WALGL1_191103_163.JPG: The Harvest Moon, 1892 Charles Rennie Mackintosh
67. WALGL1_191103_169.JPG: The Book of Glasgow Cathedral, 1898 Cover designed by Talwin Morris Embroidered tablecloth, ca 1906-7 Designed and made by Ellison Young
68. WALGL1_191103_186.JPG: 1893-1900 Formative Years of the Glasgow Style
69. WALGL1_191103_213.JPG: The Shock of the New
70. WALGL1_191103_218.JPG: In memoriam -- Senex, 1894 Talwin MOrris
71. WALGL1_191103_227.JPG: Tsuba Designs Flight of arrows, 16th-17th century Kinai School, Japan Lotus, possibly 17th-18th century Kaneie School, Japan Cormorants and waves, 18th century Kinai School, Japan
72. WALGL1_191103_228.JPG: The Yellow Book, Volume 1, April 1894 Cover design by Aubrey Beardsley
73. WALGL1_191103_240.JPG: Salome: J'ai baise ta bouche, 1893 Aubrey Beardsley
74. WALGL1_191103_247.JPG: The Glasgow School of Art Club Program, 1893 Designed by Frances Macdonald
75. WALGL1_191103_250.JPG: Photograph of the folding screen The Birth and Death of the Winds, ca 1895 Designed by James Herbert McNair, Frances Macdonald, and Margaret Macdonald
76. WALGL1_191103_255.JPG: Poster for The Scottish Musical Review, 1896 Designed by Charles Rennie Mackintosh
77. WALGL1_191103_263.JPG: Three stencil cards for a mural, Miss Cranston's Buchanan Street Tearooms, Glasgow, 1896-97 Designed by Charles Rennie Mackintosh
78. WALGL1_191103_276.JPG: Cabbages in an Orchard, 1894 Charles Rennie Mackintosh
79. WALGL1_191103_283.JPG: Poster for The Glasgow Institute of the Fine Arts, ca 1894-95 Designed by Charles Rennie Mackintosh
80. WALGL1_191103_287.JPG: Poster for The Glasgow Institute of the Fine Arts, ca 1895 Designed by Frances Macdonald, Margaret Macdonald, and James Herbert McNair
81. WALGL1_191103_292.JPG: Poster for Drooko, Joseph Wright's umbrella factory Glasgow, 1894-95 Designed by Frances Macdonald and Margaret Macdonald
82. WALGL1_191103_316.JPG: A Pond, 1894 Frances Macdonald
83. WALGL1_191103_325.JPG: Candlestick, ca 1896 Designed and made by Frances Macdonald
84. WALGL1_191103_332.JPG: Early Architectural Gems
85. WALGL1_191103_340.JPG: High-backed chair for Miss Cranston's Argyle Street Tearooms, 1898 Designed by Charles Rennie Mackintosh Wallcovering fabric, ca 1896-97 Designed by George Walton Leaded-glass restroom cubicle door from the Argyle Street Tearooms, 1898 Designed and made by George Walton & Co, Glasgow
86. WALGL1_191103_351.JPG: Stenciled plaster ceiling fragment from the Argyle Street Tearooms, 1898 Designed and made by George Walton & Co
87. WALGL1_191103_353.JPG: Table for the Smoking Room, Argyle Street Tearooms, 1898 Designed by Charles Rennie Mackintosh
88. WALGL1_191103_356.JPG: Martyrs' Public School, perspective drawing, 1896 Designed by Charles Rennie Mackintosh
89. WALGL1_191103_361.JPG: The Glasgow School of Art, cross-sectional drawing, September 1897 Designed by Charles Rennie Mackintosh
90. WALGL1_191103_370.JPG: The Glasgow Herald Building, elevation and section drawing, 1893 Designed by Charles Rennie Mackintosh
91. WALGL1_191103_374.JPG: Queen's Cross Church, perspective drawing, 1897-98 Designed by Charles Rennie Mackintosh
92. WALGL1_191103_385.JPG: Wall panel from the billiards room, Ingram Street Tearooms, 1900-1901 Designed by Charles Rennie Mackintosh Pendant light, from the Ingram Street Tearooms, ca 1900-1901 Designed by Charles Rennie Mackintosh Mirror from the ladies' restroom and serving table, Miss Cranston's Ingram Street Tearooms, 1900-1901 Designed by Charles Rennie Mackintosh
93. WALGL1_191103_395.JPG: The Ingram Street Tearooms, 1900
94. WALGL1_191103_406.JPG: Stencil card, probably for the smoking gallery, Miss Cranston's Buchanan Street Tearooms, 1896-97 Designed by Charles Rennie Mackintosh
95. WALGL1_191103_414.JPG: The Importance of Books
96. WALGL1_191103_419.JPG: Greeting card: Kind Thoughts Like Winged Birds..., ca 1906-10 Designed by Jessie Marion King
97. WALGL1_191103_423.JPG: Menu card for Miss Cranston's Lunch and Tea Rooms, ca 1906 Cover design by Jessie Marion King
98. WALGL1_191103_427.JPG: Album von Berlin, 1900 Cover design by Jessie Marion King, 1899
99. WALGL1_191103_433.JPG: The Secret of the Wondrous Rose, ca 1894-96 Jessie Marion King
100. WALGL1_191103_440.JPG: Tail-piece page illustration for The High History of the Holy Graal, 1902-03 Jessie Marion King
101. WALGL1_191103_448.JPG: Prince and Sleeping Princess, ca 1897 Frances Macdonald
102. WALGL1_191103_454.JPG: Summer, ca 1894 Margaret Macdonald
103. WALGL1_191103_461.JPG: Kindred Spirits
104. WALGL1_191103_475.JPG: Fountain, ca 1893-94 James Herbert McNair
105. WALGL1_191103_477.JPG: 2 Sketchbook, executed while residing at Field's Court, Gray's Inn, London, and at Dunglass, Bowling, Dumbartonshire, 1893-95 Talwin Morris
106. WALGL1_191103_480.JPG: The Importance of Books: Talwin Morris and Blackie & Sons
107. WALGL1_191103_489.JPG: The Hill House, ca 1905-11 Talwin Morris
108. WALGL1_191103_491.JPG: Christmas card, 1897 Talwin Morris
109. WALGL1_191103_499.JPG: Ex Libris: The Pen is Mightier Than Truth, printing proof, 1897 Talwin Morris
110. WALGL1_191103_503.JPG: Printing plate for the cover of The Golden Book of Children's Verse, undated Designed by Talwin Morris
111. WALGL1_191103_509.JPG: Interlocking pattern, ca 1908-9 Designed by Talwin MOrris
112. WALGL1_191103_523.JPG: salmon and Gillespie
113. WALGL1_191103_526.JPG: Armchair, for the Agents' Office of the British Linen Co. (later Bank), Hutchensontown Branch (later Gorbals), ca 1899-1900 Designed by James Salmon Junior
114. WALGL1_191103_531.JPG: The Artistic Interior
115. WALGL1_191103_558.JPG: The May Queen, 1900 Margaret Macdonald Mackintosh
116. WALGL2_191103_043.JPG: Teaching Design and Decoration -- Ceramics
117. WALGL2_191103_063.JPG: The Many Facets of The Glasgow School of Art
118. WALGL2_191103_077.JPG: Design & Making -- Glasgow's Technical Art Studios, Est. 1893
119. WALGL2_191103_081.JPG: Teaching Design and Decoration -- Needlework
120. WALGL2_191103_085.JPG: Teaching Design and Decoration -- Art Botany
121. WALGL2_191103_106.JPG: Teaching Design and Decoration -- Metalwork
122. WALGL2_191103_131.JPG: Teaching Design and Decoration -- Furniture and Interiors
123. WALGL2_191103_145.JPG: New Horizons: Inspiration and Opportunity
124. WALGL2_191103_166.JPG: 1892-1905 Technical Art Instruction and Exhibitions
125. WALGL2_191103_191.JPG: Teaching Design and Decoration -- Stained Glass
126. WALGL2_191103_214.JPG: What Makes Mackintosh, Mackintosh?
127. WALGL2_191103_216.JPG: 1901-9 Mackintosh's Major Architectural Projects
128. WALGL2_191103_242.JPG: Mackintosh's Architectural Accomplishments, 1906-9
129. WALGL2_191103_276.JPG: Transition, Change, New Directions
130. WALGL2_191103_357.JPG: 1909-33 Transition and Endings
131. WALGL2_191103_377.JPG: End Days
132. WALGL2_191103_400.JPG: Catalogue for the Mackintosh Memorial Exhibitions, May 1933
133. WALGL2_191103_405.JPG: 1933-Present The Mackintosh Legacy
134. WALGL2_191103_421.JPG: Epilogue
135. WALRY1_191103_001.JPG: The following pictures are from the page 2019_MD_Walters_Rye MD -- Baltimore -- Walters Art Museum -- Exhibit: From Rye to Raphael: The Walters Story (265 photos from 2019)
  A Stream in the Adirondacks, 1859 James McDougal Hart
136. WALRY1_191103_007.JPG: Hudson River Landscape, 1858 James McDougal Hart
137. WALRY1_191103_010.JPG: River Scene, 1868 Robert Seldon Duncanson
138. WALRY1_191103_014.JPG: Pot de Creme Set, 1864 Charles Pillvuyt & Cie
139. WALRY1_191103_021.JPG: Bust of Dr. Dio Lewis, 1868 Edmonia Lewis
140. WALRY1_191103_026.JPG: Sponge Dish and Toothbrush Dish, ca 1862, gilded 1867 Sevres Porcelain Manufactory, with WTW Monogram by Pillivuyt
141. WALRY1_191103_033.JPG: First Disappointment, modeled in 1858, carved 1861 Erastus Dow Palmer
142. WALRY1_191103_037.JPG: The Scarlet Letter, 1861 Hugues Merle
143. WALRY1_191103_041.JPG: High Sideboard with Hunting Trophies, 1850s
144. WALRY1_191103_048.JPG: Bust of Henry Walters, 1930 Hans Schuler
145. WALRY1_191103_051.JPG: The Walters Mountain Distilleries Whiskey Bottle, second half of the 19th century Tumbler's with WTW monogram
146. WALRY1_191103_057.JPG: From Rye to Raphael The Walters Story
147. WALRY1_191103_061.JPG: Bust of William T. Walters, probably modeled 1860, carved 1866-67 William Henry Rinehart
148. WALRY1_191103_065.JPG: Bust of Jennie Walters, modeled 1873, completed 1874 William Henry Rinehart
149. WALRY1_191103_078.JPG: Bust of Mrs. William T. Walters (born Ellen Harper), 1862 William Henry Rinehart
150. WALRY1_191103_081.JPG: Bunch of Grapes, 1873 Andrew John Henry Way
151. WALRY1_191103_091.JPG: Marphise, 1852 Eugene Delacroix
152. WALRY1_191103_096.JPG: Christ on the Cross, 1846 Eugene Delacroix
153. WALRY1_191103_101.JPG: Sketch for the Battle of Poitiers, 1829-30 Eugene Delacroix
154. WALRY1_191103_108.JPG: An Arab Sheik, ca 1870 Leon Bonnat
155. WALRY1_191103_113.JPG: Interior of a Mosque at Cordova, 1880 Edwin Lord Weeks
156. WALRY1_191103_132.JPG: Broadening Horizons
157. WALRY1_191103_134.JPG: Hindu Snake Charmer, 1869 Mariano Jose Maria Bernardo Fortuny y Carbo
158. WALRY1_191103_139.JPG: Arab Fantasia, 1867 Mariano Jose Maria Bernardo Fortuny y Carbo
159. WALRY1_191103_147.JPG: Collision of the Moorish Horsemen, 1843-44 Eugene Delacroix
160. WALRY1_191103_156.JPG: Surtout de Table: Tiger Hunt, 1834-36 Antoine-Louis Barye
161. WALRY1_191103_160.JPG: The Slipper Merchant, 1872 Jose Villegas Cordero
162. WALRY1_191103_163.JPG: Two Profile Heads of a Young Woman (Nasleh), before 1878 Leopold Carl Muller
163. WALRY1_191103_173.JPG: Said Abdullah of the Mayac, Kingdom of the Darfur (Sudan), 1848 African Venus, 1851 Charles-Henri-Joseph Cordier
164. WALRY1_191103_182.JPG: On the Desert, before 1867 Jean-Leon Gerome
165. WALRY1_191103_189.JPG: Odalisque with Slave, 1842 Jean-Auguste-Dominique Ingres
166. WALRY1_191103_195.JPG: When you shall these unlucky deeds relate, Speak of me as I am. Nothing extenuate, Nor set down aught in malice. Then must you speak 360Of one that loved not wisely, but too well. Of one not easily jealous, but being wrought, Perplexed in the extreme. Of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe. Of one whose subdued eyes, 365Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinal gum. -- William Shakespeare, Othello, Act 5, scene 2
167. WALRY1_191103_199.JPG: Othello, modeled ca 1868, this version executed ca 1873 Pietro Calvi
168. WALRY1_191103_210.JPG: Collecting French Landscape Paintings
169. WALRY1_191103_216.JPG: The Jungfrau, Switzerland, 1853-55 Alexandre Calame
170. WALRY1_191103_221.JPG: The Storm, 1872 Narcisse Virgile Diaz de la Pena
171. WALRY1_191103_230.JPG: Cattle Drinking, 1851 Constant Troyon
172. WALRY1_191103_235.JPG: Coast Near Villers, 1859 Constant Troyon
173. WALRY1_191103_248.JPG: Ploughing Scene, 1854 Rosa Bonheur
174. WALRY1_191103_252.JPG: Arayori (A Peasant Woman), 1915 Yoshida Homei
175. WALRY1_191103_260.JPG: Surtout de Table: Lion Hunt, 1834-38 Antoine-Louis Barye
176. WALRY1_191103_269.JPG: The Potato Harvest, 1855 Jean-Francois Millet
177. WALRY1_191103_277.JPG: The Close of Day, 1865 Jules Adolphe Aime Louis Breton
178. WALRY1_191103_284.JPG: Hoarfrost, 1845 Theodore Rousseau
179. WALRY1_191103_288.JPG: tag Brought Down by Scottish Hounds, 1840-44 Antoine-Louis Barye
180. WALRY1_191103_292.JPG: Raby Castle, Seat of the Earl of Darlington, 1817 Joseph Mallord William Turner
181. WALRY1_191103_300.JPG: Landscape in Scotland, ca 1878 Gustave Dore
182. WALRY1_191103_313.JPG: Oedipus and the Sphinx, 1864 Jean-Auguste-Dominique Ingres
183. WALRY1_191103_319.JPG: Collecting Academic Painting
184. WALRY1_191103_321.JPG: A Roman Slave Market, ca 1884 Jean-Leon Gerome
185. WALRY1_191103_327.JPG: The Peachbloom Vase (The Morgan Vase), 1710-22 Chinese
186. WALRY1_191103_330.JPG: An Obsession for Collecting
187. WALRY1_191103_332.JPG: The Tulip Folly, 1882 Jean-Leon Gerome
188. WALRY1_191103_338.JPG: The Duel After the Masquerade, 1856-59 Jean-Leon Gerome
189. WALRY1_191103_343.JPG: The Death of Caesar, 1859-67 Jean-Leon Gerome The Death of Caesar From Wikipedia, the free encyclopedia The Death of Caesar (French: La Mort de C�sar) is an 1867 painting by the French artist Jean-L�on G�r�me. It depicts the moment after the assassination of Julius Caesar, when the jubilant conspirators are walking away from Caesar's dead body at the Theatre of Pompey, on the Ides of March (March 15), 44 BC. The painting is kept at the Walters Art Museum in Baltimore, Maryland. Characteristically, G�r�me has depicted not the incident itself, but its immediate aftermath. The illusion of reality that G�r�me imparted to his paintings with his smooth, polished technique led one critic to comment, "If photography had existed in Caesar's day, one could believe that the picture was painted from a photograph taken on the spot at the very moment of the catastrophe." G�r�me's depiction of the aftermath of violence can also be seen in The Execution of Marshal Ney, The Duel After the Masquerade, and Jerusalem.
190. WALRY1_191103_353.JPG: The Triumph of Titus: AD 71, The Flavians, 1885 Sir Lawrence Alma-Tadema In this canvas, the artist shows Titus returning to Rome in triumph following his capture of Jerusalem in AD 70. His father, Emperor Vespasian, clad in a white toga, leads the procession. Titus comes next, holding the hand of his daughter, Julia, who turns to address her father's younger brother and successor, Domitian. In the background is the Temple of Jupiter Victor. Among the spoils from Jerusalem is a 7-branched candlestick from the temple. Alma-Tadema depicted these events by drawing on classical sources, like the reliefs on of the Arch of Titus and on the latest 19th-century scholarship regarding everyday life in Rome.
191. WALRY1_191103_358.JPG: My Sister is Not In, 1879 Sir Lawrence Alma-Tadema Alma-Tadema was born in Friesland, the Netherlands, but was trained in Belgium. After the death of his first wife in 1870, he moved to London where he developed a reputation for his seemingly accurate reconstructions of genre scenes set in ancient Rome. Here, a Roman maiden closes a curtain in an unconvincing attempt to conceal her sister from a suitor. Alma-Tadema's wealthy British patrons could readily relate to the individuals he portrays: members of the upper class in an era of affluence.
192. WALRY1_191103_367.JPG: A Roman Emperor: AD 41, 1871 Sir Lawrence Alma-Tadema In AD 41, the debauched Roman emperor Caligula was murdered. Gratus, a member of the Praetorian, draws a curtain aside to reveal the terrified Claudius who is hailed as emperor on the spot. Beneath the herm in the background, lie the bodies of Caligula, his wife Caesonia, their young daughter and a bystander. The blood stains on the herm denote the struggle that has transpired as well as the setting, the Hermaeum, an apartment in the Palace where Claudius had sought refuge. Opus LXXXVIII
193. WALRY1_191103_380.JPG: The Edicts of Charles V, 1861 Jean August Hendrik Leys
194. WALRY1_191103_384.JPG: 1814, 1862 Jean Louis Meissonier
195. WALRY1_191103_390.JPG: The Jovial Trooper, 1865 Jean Louis Ernest Meissonier
196. WALRY1_191103_394.JPG: "Jet Pump" Garden Fountain, ca 1904 Okagaki Sessei
197. WALRY1_191103_399.JPG: Portrait of Henry Walters, 1938 Thomas Cromwell Corner
198. WALRY1_191103_408.JPG: The Attack at Dawn, 1877 Alphonse de Neuville The scene is a French town in the Jura region, near the Swiss border. As a bugler sounds the alarm, French troops (Algerian riflemen and members of the Garde Mobile) rush from an inn to defend themselves from the advancing Prussians. Rather than dwelling on France's defeat in the Franco-Prussian War (1870-1871), de Neuville, a veteran of the war, specialized in works glorifying his country's heroic resistance rather than its military defeat. He took exceptional efforts to re-create the subjects factually, revisiting the battlefields and studying the weapons, uniforms, and other paraphernalia of war.
199. WALRY1_191103_420.JPG: Military Courage, modeled 1876 Paul Dubois
200. WALRY1_191103_424.JPG: The River Gods, modeled 1866-67 Antoine-Louis Barye
201. WALRY1_191103_428.JPG: The River Gods, modeled 1866-67 Antoine-Louis Barye
202. WALRY1_191103_439.JPG: The Cherry Picker, 1871 William-Adolphe Bouguerreau
203. WALRY1_191103_443.JPG: View of Saint Mammes, 1880 Alfred Sisley
204. WALRY1_191103_449.JPG: The Church of Eragny, 1884 Camille Pissaro
205. WALRY1_191103_456.JPG: Route to Versailles, Louveciennes, 1869 Camille Pissarro
206. WALRY1_191103_461.JPG: The Jungfrau, Switzerland, 1853-55 Alexander Calame
207. WALRY1_191103_466.JPG: The Storm, 1872 Narcisse Virgile Diaz de la Pena
208. WALRY1_191103_470.JPG: The Coming Storm, 1865-75 Charles Francois Daubigny
209. WALRY1_191103_479.JPG: A Bright Day, ca 1835-40 Jules Dupre
210. WALRY1_191103_484.JPG: Springtime, 1872 Claude Monet
211. WALRY1_191103_489.JPG: The room you are about to enter recreates William T. Walters' picture gallery as recorded in this archival photograph from about 1884.
212. WALRY1_191103_504.JPG: The Health of the King F. Willems
213. WALRY1_191103_505.JPG: Boutique of Figaro, 1875 J. Jiminez Aranda
214. WALRY1_191103_509.JPG: Palm Sunday Alfred Stevens
215. WALRY1_191103_511.JPG: The Approach of the Storm, 1873 E. Van Marcke
216. WALRY1_191103_513.JPG: Sunset on the Coast of France, 1865 C.F. Daubigny
217. WALRY1_191103_514.JPG: An Encampment in the Atlas Mountains E. Fromentin
218. WALRY1_191103_520.JPG: Still Life, 1852 Simon Saint-Jean
219. WALRY1_191103_527.JPG: Still Life, 1852 Simon Saint-Jean
220. WALRY1_191103_530.JPG: Prayer A.E. Plassan
221. WALRY1_191103_537.JPG: Diogenes, 1860 J.L. Gerome
222. WALRY1_191103_540.JPG: The Waning Honeymoon, 1878 G.H. A.R.A. Boughton
223. WALRY1_191103_546.JPG: In the Trenches, 1874 Alphonse de Neuville Members of the Garde Mobile (French expeditionary forces) are huddled in a shallow trench during the Franco-Prussian War of 1870-71. De Neuville has conveyed the general misery and tedium between battles that is associated with trench warfare. The artist complained that his dealer, Alphonse Goupil, wanted more flattering, less disturbing subjects and refused to pay him more than 6,000 francs, a small fee, for this painting. De Neuville entered the naval school at Lorient in 1856, where his artistic instincts began. His work focuses on war, battle scenes, and soldiers. He also illustrated "Twenty Thousand Leagues Under the Sea" and Guizot's "History of France" as well as others. He also studied under Eug�ne Delacroix.
224. WALRY1_191103_555.JPG: Early Morning E. Van Marcke
225. WALRY1_191103_557.JPG: The Artist, By Himself C.L. Elliott
226. WALRY1_191103_561.JPG: Portrait of A.B. Durand, N.A. C.L. Elliott
227. WALRY1_191103_563.JPG: A Portrait, 1873 Geo. A. Baker
228. WALRY1_191103_566.JPG: Clearing Up -- Coast of Sicily, 1847 Andreas Achenbach
229. WALRY1_191103_569.JPG: A Portrait, 1852 Chas. L. Muller
230. WALRY1_191103_574.JPG: Portrait of Napoleon III A. Yvon
231. WALRY1_191103_577.JPG: Power of Music, 1860 Louis Gallait A letter written by the artist to William Walters dated July 20, 1860 illuminates the subject of this painting. It shows a brother and sister resting before an old tomb. The brother is attempting to comfort his sibling by playing the violin, and she has fallen into a deep sleep, "oblivious of all grief, mental and physical." This composition exists in at least one other version, now preserved at the Hermitage Museum in St. Petersburg. A closely related reduced replica was given to the Mus�es royaux des Beaux-Arts de Belgique by a descendant of the artist. The melancholic subject's popularity is attested by its reproduction on a porcelain plaque manufactured by the Royal Porcelain Factory, Berlin.
232. WALRY1_191103_580.JPG: Repose C. Troyon
233. WALRY1_191103_584.JPG: Sappho, 1881 L.R.A. Alma-Tadema In 1870, the Dutch-born, Belgian-trained artist Alma-Tadema moved to London, where he found a ready market among the wealthy middle classes for paintings re-creating scenes of domestic life in imperial Roman times. In this work, however, he turns to early Greece to illustrate a passage by the ancient Greek poet Hermesianax (active ca. 330 BC) preserved in Atheneaus, Deipnosophistae, "Banquet of the Learned," book 2, line 598. On the island of Lesbos (Mytilene), in the late 7th century BC, Sappho and her companions listen rapturously as the poet Alcaeus plays a "kithara." Striving for verisimilitude, Alma-Tadema copied the marble seating of the Theater of Dionysos in Athens, although he substituted the names of members of Sappho's sorority for those of the officials incised on the Athenian prototype.
234. WALRY1_191103_594.JPG: Morning Felix Ziem
235. WALRY1_191103_598.JPG: The Old Oak Jules Dupre
236. WALRY1_191103_601.JPG: Evening Felix Ziem
237. WALRY1_191103_605.JPG: The HopelessCase, 1871 Ant. Rotta
238. WALRY1_191103_614.JPG: The Evening Star J.B.C. Corot
239. WALRY1_191103_615.JPG: Interior of a Tavern F. Bonvin
240. WALRY1_191103_617.JPG: A Portrait [William T. Walters], 1883 Leon Bonnat
241. WALRY1_191103_620.JPG: Mud Pies, 1873 I. Prof. Knaus
242. WALRY1_191103_624.JPG: Syria -- The Night Watch, 1880 R.A. Riviere In 1880 this picture, a moonlit scene in which ferocious looking lions stalk among some ancient ruins, met with a favorable reception at the Royal Academy, where it was listed simply as "The Night Watch." The reviewer for "The Art Journal" identified the setting as a temple at Luxor. The rows of columns with bud and papyriform capitals approximate in appearance those at the mortuary temple of Ramesses II at that site. By 1884 the picture had received its present title. Extracts from a letter presumably from the artist to William T. Walters, published in the early catalogues of the collection, associated the painting with Syria and its desolated ancient cities. In 1889 the critic Alfred Mathews observed that the picture was "a sermon- an intense symbolism- of the seeming slow but always swift mutations of time in the affairs of men and nations."
243. WALRY1_191103_636.JPG: The Picket, 1875 E. Detaille
244. WALRY1_191103_639.JPG: Venice, 1878 M. Rico
245. WALRY1_191103_645.JPG: The Martrydom of St. Sebastian, 1853 J.B.C. Corot
246. WALRY1_191103_647.JPG: Lost Illusions Charles Gleyre Gleyre claimed that "Lost Illusions" represented a vision that he had experienced on the evening of March 1, 1835, while sitting on the banks of the Nile River near Abydos, Egypt. An aging poet watches pensively as a mysterious boat carries away his youthful dreams and illusions, personified by music-making maidens and a cupid strewing flowers. Although the figures in the painting wear classical Greek dress, their vessel resembles a "dahabieh," an Egyptian river boat. In 1843, Gleyre succeeded Paul Delaroche as the head of the major private studio in Paris. His pupils included such diverse figures as the Academic artist Jean-L�on G�r�me, the future Impressionists Alfred Sisley and Auguste Renoir (1841-1919), and the American James Abbott McNeill Whistler (1834-1904). This painting, begun by Gleyre's pupil L�on Dussart and reworked by Gleyre himself, replicates Gleyre's masterpiece "Le Soir" (now in the Louvre Museum, Paris). William Walters commissioned this painting from the artist through the Parisian art dealers Goupil & Cie. in 1865. It took two years to complete. Conscious of the delay, the firm wrote to Walters: Mr. Gleyre has finally nearly finished his reproduction of his picture. . . We are happy to be able to tell you that this reproduction is beautifully done. It has taken a long time and has required more trouble from the painter than he thought.
247. WALRY1_191103_650.JPG: Gathering Oranges, Toledo, 1878 M. Rico
248. WALRY1_191103_654.JPG: Damascus, 1880 A. Pasini
249. WALRY1_191103_658.JPG: Peace, 1872 Louis Gallait
250. WALRY1_191103_671.JPG: Going to the Well A.A.E. Hebert
251. WALRY1_191103_673.JPG: Christian Martyrs (The Last Prayer), 1863-1883 J.L. Gerome William T. Walters commissioned this painting in 1863, but the artist did not deliver it until 20 years later. In a letter to Walters, G�r�me identified the setting as ancient Rome's racecourse, the Circus Maximus. He noted such details as the goal posts and the chariot tracks in the dirt. The seating, however, more closely resembles that of the Colosseum, Rome's amphitheater, in which gladiatorial combats and other spectacles were held. Similarly, the hill in the background surmounted by a colossal statue and a temple is nearer in appearance to the Athenian Acropolis than it is to Rome's Palatine Hill. The artist also commented on the religious fortitude of the victims who were about to suffer martyrdom either by being devoured by the wild beasts or by being smeared with pitch and set ablaze, which also never took place in the Circus Maximus. In this instance, G�r�me, whose paintings were usually admired for their sense of reality, has subordinated historical accuracy to drama. W. M. Brady & Co, New York, in "Drawings and Oil Sketches 1700-1900," 27 January 2009 - 12 February 2009, No. 21, offers "Study for the 'Death of Caesar," an oil on canvas with pen and ink underdrawing, measuring 7 5/8 x 13 in. (19.5 x 33 cm), which formerly belonged to Maurice Aiccardi, Paris. This sketch may be the one that Theophile Gautier alluded to during a visit to the artist's studio in 1858 (G. Ackerman, Jean-Leon Gerome: Monographie revisee 2000, pp. 240-241).
252. WALRY1_191103_688.JPG: Christ Weeping Over Jerusalem, 1851 Ary Scheffer
253. WALRY1_191103_691.JPG: At Sea Jules Dupre
254. WALRY1_191103_757.JPG: World's Fairs
255. WALRY1_191103_767.JPG: The Dancer, 1900 Sevres Porcelain Manufactory, modeled by Agathon Leonard
256. WALRY1_191103_773.JPG: Gatchina Palace Egg, 1901 Peter Carl Faberge and Mikhail Evlampievich Perkhin, workmaster Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna. Faberg�'s revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloch�," or mechanically engraved gold, is demonstrated in the shell of the egg. So meticulously did Faberg�'s workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees.
257. WALRY1_191103_782.JPG: Bowl with Chrysanthemum Blossonms, 1900 Namikawa Sosuke
258. WALRY1_191103_786.JPG: Model of a Pagoda with Famous Scenes, 1915 Komai Metal Studio
259. WALRY1_191103_794.JPG: Rose Trellis Egg, 1907 Peter Carl Faberge and Henrik Emanuel Wigstrom, workmaster On April 22, 1907, Tsar Nicholas II presented this egg to his wife, Alexandra Fedorovna, to commemorate the birth of the tsarevich, Alexei Nicholaievich, three years earlier. Because of the Russo-Japanese War in 1904, no Imperial Easter eggs had been produced for two years. The egg contained as a surprise a diamond necklace and an ivory miniature portrait of the tsarevich framed in diamonds (now lost). Faberg�'s invoice, dated April 21, 1907, listed the egg at 8,300 rubles.
260. WALRY1_191103_798.JPG: Sketch for a Large Picture in Progress, Representing Allegorically the Great Industrial Meeting of All Nations, A.D. 1851 Sir John Tenniel
261. WALRY1_191103_807.JPG: The Jewelry of Rene Lalique at World's Fairs
262. WALRY1_191103_811.JPG: Tiger Necklace, ca 1903 Rene Lalique
263. WALRY1_191103_819.JPG: Amphitrite, ca 19000 Christofle et Cie, carved by Emile-Philippe Scalliet The statuette of this goddess of the sea was designed by the sculptor Marius-Jean-Antonin Merci� to be cast in silver as the centerpiece for a table of the Duke of Santonia in 1878. Subsequently, Christolf et Cie., a silver company, had several ivory statuettes carved by Emile-Philippe Scalliet based on Merci�'s model. This example was exhibited at the Exposition Universelle held in Paris in 1900. The figure is made from three pieces of carved ivory joined together. The two arms are separate sections, with the joins concealed by metal adornments at the mid-upper arms. A pearl is attached to the figure's chest, and two more can be found on the metal base. Four porpoises decorate each corner of the jasper base.
264. WALRY2_191103_001.JPG: The Hemicycle, 1853 Delaroche (Paul Hippolyte) This painting replicates Delaroche's most famous work, a mural in oils and wax (1836-41) in the auditorium of the �cole des Beaux-Arts in Paris, France's most prestigious art school. Delaroche's pupil, Charles B�ranger, is thought to have begun this replica in 1841, but the master completed it following his pupil's death in 1853. It provided a basis for L.-P. Henriquel-Dupont's engraving reproducing the composition. Represented are great artists of the past who appear to preside over the awards ceremonies held in the auditorium. Enthroned in the center are the three masters of antiquity-Ictinus the architect, Apelles the painter, and Phidias the sculptor-flanked by personifications of Greek and Gothic art (on the left) and Roman and Renaissance art (on the right). Below, the semi-nude figure of Fame leans forward to distribute laurel wreaths to the recipients of the coveted Grand Prix de Rome, who were entitled to spend 4 to 5 years studying in Rome at the expense of the State. Those European artists from the 13th through the 17th centuries whom Delaroche ranked as the most important are included in his great assembly. To the left are 14 sculptors and a gathering of painters known as colorists and naturalists and, to the right, 13 architects, 2 engravers, and 19 painters distinguished for their drawing. Although many of their names are familiar today, among them Titian, Rembrandt, and Rubens on the left, and Raphael, Michelangelo, and Poussin on the right, others are less so. Notably absent are Botticelli, El Greco, and Vermeer, whose paintings were not rediscovered until later in the century. According to the accounts of the dealer Adolphe Goupil the exceptionally elaborate frame cost 5,000 French francs, or $1,000, a remarkable sum in 1853.
265. WALRY2_191103_176.JPG: Poultry Market, Tangiers, before 1881 Jose Villegas Cordero
266. WALRY2_191103_180.JPG: Toreros at Prayer before Entering the Arena, ca 1870 Jehan Georges Vibert
267. WALRY2_191103_186.JPG: Coming Out of Church, before 1875 Raimundo de Madrazo y Garreta
268. WALRY2_191103_193.JPG: The Ecole des Beaux-Arts
269. WALRY2_191103_195.JPG: The Musician, 1884 Pascal Adolphe Jean Dagnan-Bouveret
270. WALRY2_191103_201.JPG: Napoleon III, ca 1865 Alexandre Cabanel
271. WALRY2_191103_205.JPG: The End of the Game of Cards, 1865 Jean Louis Ernest Meissonier
272. WALRY2_191103_210.JPG: Woman with a Lap Dog, ca 1575-1600 Italian
273. WALRY2_191103_214.JPG: Allegory of the Element Earth, ca 1580 Leondro da Ponte, called Leandro Bassano
274. WALRY2_191103_225.JPG: Countess Livia da Porto Thiene and Her Daughter Deidamia, 1552 Paolo Caliari
275. WALRY2_191103_229.JPG: Maria Salviati with Giulia de' Medici, ca 1539 Jacopo Carucci, called Jacopo da Pontormo
276. WALRY2_191103_234.JPG: Madonna and Child with the Young Saint John the Baptist, 1522-24 Giulio Romano
277. WALRY2_191103_239.JPG: Portrait of Pope Pius V, ca 1566 Bartolomeo Passerotti
278. WALRY2_191103_243.JPG: The Madonna and Child Enthroned with Saints Peter and Mark and Three Donors, 1510 Giovanni Bellini and workship
279. WALRY2_191103_245.JPG: Saint Helena, ca 1575 Francesco Morandini, called Il Poppi
280. WALRY2_191103_249.JPG: The Madonna of the Candelabra, ca 1513 Raffaello Sanzio, called Raphael, and workshop
281. WALRY2_191103_254.JPG: Growing the Collection
282. WALRY2_191103_257.JPG: New Acquisition Giovanni Boldini's Lady with a Guitar
283. WALRY2_191103_260.JPG: Lady with a Guitar, ca 1873 Giovanni Boldini A woman enjoys a moment of quiet reflection, resting her guitar on her thigh. Her brilliantly embroidered bolero -- a short jacket associated with bullfighting -- is lined with red satin, and her pink dress traces the outline of her body. The monogram in the upper right is formed of the letters "L" and "V," but the woman's identity is unknown. The painting evokes the sights and sounds of Spain, and we may imagine that its subject is a flamenco performer. Flamenco -- a folkloric music tradition comprising singing and dancing -- is associated with southern Spain. Boldini and other 19th-century European artists were fascinated by Spain, particularly the southern region, whose culture was shaped by Muslim Arabs; many Europeans viewed it as an exotic locale. In the 1870s, following his relocation to Paris, Boldini painted scenes of Spain on several occasions, inspired by the Spanish painter Mariano Fortuny (1838–74), who worked with free brushstrokes in vibrant color.
284. WALRY2_191103_267.JPG: Anti-Establishment
285. WALRY2_191103_269.JPG: Paris Kiosk, 1880-84 Jean Beraud
286. WALRY2_191103_273.JPG: The Terrace at Saint-Germain, 1875 Alfred Sisley
287. WALRY2_191103_277.JPG: Before the Race, 1882-84 Edgar Degas
288. WALRY2_191103_283.JPG: George A. Lucas, 1886 James McNeill Whistler
289. WALRY2_191103_288.JPG: Mariano Fortuny and His Followers
290. WALRY2_191103_294.JPG: An Ecclesiastic, ca 1874 Mariano Jose Maria Bernardo Fortuny y Carbo
291. WALRY2_191103_299.JPG: Politics in an Oyster House, 1848 Richard Caton Woodville
292. WALTIM_191103_01.JPG: The following pictures are from the page 2019_MD_Walters_Time MD -- Baltimore -- Walters Art Museum -- Exhibit: Time and Place (26 photos from 2019)
293. WALTIM_191103_03.JPG: Antonio McAfee Unmaking and Making, 2018
294. WALTIM_191103_14.JPG: Time and Place July 31, 2019 - March 1, 2020
295. WALTIM_191103_18.JPG: Jay Gould Kevin, 2019
296. WALTIM_191103_30.JPG: Jay Gould Anna, 2019
297. WALTIM_191103_33.JPG: Jay Gould Jay, 2019 Alfred Jacob Miller Lydia Lloyd Murray, 1833
298. WALTIM_191103_34.JPG: Jay Gould Jay, 2019
299. WALTIM_191103_40.JPG: Jay Gould Herb, 2019
300. WALTIM_191103_51.JPG: Jay Gould Angie, 2019
301. WALTIM_191103_58.JPG: Jay Gould Haddon, Cathie, and Madison, 2019
302. WALTIM_191103_63.JPG: Jay Gould Annie and Colleen, 2019
303. WALTIM_191103_66.JPG: Jay Gould Mike, 2019
304. WALTIM_191103_77.JPG: Jay Gould
305. WALTIM_191103_82.JPG: Jay Gould G. Krug and Son, 2019
306. WALTIM_191103_86.JPG: Jay Gould Katrinia, Josh, Shakia, Kyle, Lois, and James, 2019
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