Related

Length of velvet

Floral Tent Panel

Textile Fragment

Velvet and Silk Carpet

Silk Velvet Designed by 'Ghiyath'

Silk Kashan Carpet

Carpet with Scrolling Vines and Blossoms

Silk Animal Carpet

Palampore

Carpet with Triple-Arch Design

Tigers Chasing Deer, with Dragon

Velvet Panel with Flowering Plants

Fragment (Dress Fabric)

The Emperor's Carpet

Carpet with Palm Trees, Ibexes, and Birds

Five Medallion Carpet

Velvet Fragment with Design from Nizami of Ganja's Khusrau and Shirin

Silk Velvet Fragment with Tiger-Stripe and 'Cintamani' Design

Pink and Rose

"Lotto" Carpet

Canopy with Dragon among Flowers

Textile

Carpet

Royal Carpet with Silk and Metal Thread

Ensemble

Doublet

Tile with Floral and Cloud-band Design

Tile Panel

Cravat end

Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.

This drawing, Walters manuscript leaf W.749, was executed in Safavid Iran, most probably in the late 10th century AH/AD 16th, in Qazvin or Isfahan. Above, a farmer plows; below, a seated young man watches a produce seller weigh his purchase. On the rocks in the center foreground is inscribed the name of one of the most famous painters in Iran in the 11th century AH/AD 17th, Riza 'Abbasi (active 1001-1044 AH/AD 1591-1592 to 1634). As the handwriting does not match that of the artist, an admirer of Riza's work seems to have attributed the drawing to him. The execution and the bucolic subject matter of this drawing relate closely to the oeuvre of the Persian artist Muhammadi Haravi (active late 10th century AH/AD 16th), who worked in Qazvin. It is possible that this composition was conceived as a manuscript page.

Walters manuscript W.619 is an illuminated manuscript containing 2 works by Sa"di (died 691 AH/AD 1292): the Gulistan (Rose garden) and the Bustan (Orchard). It was copied in 980 AH/AD 1572 by Muhammad Riza al-Tabrizi in Iran. The text of the Gulistan appears in the main area, while that of the Bustan is inscribed obliquely around the main text area on three sides. Both texts are written in black and gold nasta"liq script. The margins are multi-colored, gold-sprinkled tinted or marbled paper. The original leather binding dates to the 10th century AH/AD 16th and has dentelle-style decorated boards and doublures with gold filigree work over a multi-colored ground of blue, green, red, and black.

Fragment textiel

Dragon in foliage with lion and phoenix heads

Waistcoat

Green Tara

This folio from Walters manuscript W.580 is the left side of an illuminated double-page frontispiece of geometric design in gold, red, blue, and green, with a marginal rosette at the left.

Thangka with the Seventh Bodhisattva

The Wade Cup with Animated Script

Leaf from Album of Persian Calligraphy

Pichhwai for the Festival of Cows

"Black Buck", Folio from the Shah Jahan Album

Bridal Robe (Hwarot)

Iris, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

European Banquet Scene (or The Marriage Feast at Cana?)

Cover Panel for a Tihong

Hunting and fishing scenes

Buddhist Deities

Corset

Ceremonial Hanging (Palepai)

Mural Fragment Depicting a Maguey Bloodletting Ritual

Book on Navigation

Mirror with Phoenixes, Birds, Butterflies, and Floral Sprays

Portrait of Emperor Jahangir

Manjushri

Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.

Cape

The Flood of Noah (Genesis 7:11-24)

Birds and Flowers

Prince and Princess Hunting Blackbuck

Textile Fragment

Tile Panel

This painting depicts three people seated side-by-side outdoors. The central person is a young, nude child with curly, reddish hair and a red beaded necklace, sitting on a red cushion. Their head is turned to the right. The woman on the left wears a white head covering, a sheer veil around her neck, a green dress, and a red cloak with floral designs. She holds the torso of the child and drapes a white cloth around its legs. The woman on the right has long, flowing reddish hair and wears a white dress or robe with gold detailing down the front, on the neckline, and on the wrists. She holds an open red book, and the child is turning one of the thin pages. All three people have pale skin. Above them, in the cloudy blue sky, there is a white dove with its wings outstretched, gold lines radiating from it. Above the dove, there is an image of a crowned bearded man with pale skin, wearing red robes and holding an orb. He is against a golden background with red dots that breaks through the pale clouds. The background shows a landscape with green trees, hills, and pale blue buildings.

On this folio from Walters manuscript W.653, a middle-aged woman stands in a landscape, holding a vase of flowers. The salmon pink margins are stenciled with animal and floral forms. The catchword at the lower left indicates that the following folio is missing.

Fragment textiel

Buddhist Priest's Ceremonial Robe

This is the final illuminated page in the codex, Walters W.582. The last panel contains the colophon, written in Riqa' script, giving the name of the scribe as Habib Allah ibn Dust Muhammad al-Khwarizmi.

Portrait of a Lady

Mandala Base

Grapevine in the Wind

Twee textielfragmenten op een blad, borduursel en druk op zijde

Grafmonument met alliantiewapen en vier kwartierwapens

Young Woman Smoking a Huqqa

Jar with Lion-Head Handles

Icon of the Virgin and Child

Plate with Peony Decoration

Kast met het wapen Alberda

A young girl stands next to and holds the hand of an elegantly dressed woman sitting in a wooden armchair near stone columns, in front of a crimson-red curtain pulled up to reveal a distant landscape view in this vertical portrait painting. The child and woman have smooth, light skin, and the fabric of their dresses has a silken sheen. To our right, the woman sits with her knees angled slightly to our left, and she looks at us with dark blue eyes under faint brows. Her brown hair is pulled back from her high forehead under a hair covering set with pearls. Her pointed chin is slightly pulled back, and her pale pink lips are closed. A teardrop-shaped pearl hangs from the ear we can see, and she wears two strands of pearls like a choker, above a thick, pleated lace ruff. The fabric of the long-sleeved bodice has a gold-on-gold pattern, and is lined with a row of buttons down the front. Filmy lace cuffs extend back over her forearms from her wrists. Her full, floor-length skirt is scarlet red with a gold, brocade-like pattern, and has silvery-gray stripes down the front and around the lower hem. The cloak she wears over the dress has a black-on-black floral pattern. Three thick gold chains hang across her bodice, and she wears a square-cut, gray stone set in a gold ring on the third finger of her left hand. To our left, the young girl stands next to the wooden arm of the chair and holds the woman’s hands with both of hers. The child looks at us with gray eyes, and her pale pink lips are parted in a slight smile. Her light brown hair is pulled back under a gray band, perhaps of fur, around her head, over an apricot-colored head covering that matches her dress. The tight-fitting, long-sleeved bodice is striped with bands of alternating gold and pink geometric designs against the apricot-peach background. A lace-edged collar lies across her shoulders. A red, oval pendant hangs from her three-standed pearl necklace, and she wears three pearl bracelets on one wrist. A thick gold chain falls across her chest and around one hip. The floor-length, full skirt has buttercup-yellow and shell-pink highlights on the coral-colored background. Behind the pair, the red curtain has been pulled up so it seems to flutter behind the woman’s head, in front of stone columns that frame a distant landscape view with trees. A blocky structure, presumably a building, sits on the far distant, hazy horizon. Light pours down in streaks from steel-gray clouds against a pale blue sky.

Textielfragment, shibori-zome op zijde

Belt clasp

Insects and Flowers, Ming dynasty, 14th-15th century, color on silk, Tokyo National Museum

Mural Fragment with Elite Male and Maguey Cactus Leaves

Peonies

Center table

The head, shoulders, and chest of a man wearing a deep rose-red garment fills this vertical portrait painting. His body is angled slightly to our left, and he looks directly at us from the corners of his eyes. His brown hair falls across his forehead, sweeps down over his ears, and curls gently at the nape of his neck. His eyebrows arch over brown eyes, and he has a long, angular nose. His upper lip is full, and his mouth is closed. He has high cheekbones and a cleft in his chin. The high collar is a black band over the voluminous red garment, which falls in pleats or folds down his chest. His right hand, on our left, lifts to clutch the fabric near his chest, in the lower left corner of the painting, and he wears a gold ring on his pinky finger. The background behind the man fades from dark aquamarine blue across the top to pale arctic blue at his shoulders, which span the width of the composition.

Ghanti (bell)

Plaque with horned lion-griffins

Folio from a Qur'an Manuscript

Duck in Flight

Bottle with Birds and Peony Scroll

Door lintel with lion-griffins and vase with lotus leaf

Bowl with Inscription, "Sovereignty is God's"

Amitabha Triad, Tokyo National Museum

Roses in a Vase

Foliate-Shaped Tray with Mother-of-Pearl Inlay

Bowl with inscription and chrysanthemums and tortoiseshell decoration

Openwork furniture plaque with a grazing oryx in a forest of fronds

Shown from the waist up, a pale-skinned, round-cheeked young boy wears a brocade red and gold garment and hat in this vertical portrait painting. The boy’s body is angled to our left, but he turns his face toward us as he looks slightly down with gray eyes. He has a square face with a high forehead, faint brows, a small, rounded nose, bow-shaped pink lips, and a pointed chin. A fringe of pale blond hair lines the top of his head under a gold cap that ties under his chin. A white feather drops off the edge of a red disk around the top of the hat. His brilliant red garment is lined with gold bands, and the sleeves split over voluminous gold sleeves, which are lined with white ruffles at the wrists. The boy is behind a ledge draped with a crinkled, emerald-green cloth. He rests one hand on the ledge and holds a gold orb on a stick in that hand. His other hand hovers over the ledge with the palm facing out. The background is late gray. A strip of paper affixed to the front face of the ledge has eight lines of Latin text in all caps. It reads, “PARVVLE PATRISSA, PATRIÆ VIRTVTIS ET HÆRES ESTO, NIHIL MAIVS MAXIMVS ORBIS HABET. GNATVM VIX POSSVNT COELVM ET NATVRA DEDISSE, HVIVS QVEM PATRIS, VICTVS HONORET HONOS. ÆQVATO TANTVM, TANTI TV FACTA PARENTIS, VOTA HOMINVM, VIX QVO PROGREDIANTVR, HABENT VINCITO, VICISTI. QVOT REGES PRISCVS ADORAT ORBIS, NEC TE QVI VINCERE POSSIT, ERIT. Ricard: Morysini. Car:”