Description This unique glass vessel reflects religious, historical, and cultural connections between Islam and Christianity. The work dates from the Crusader period (1097-1291), when Islamic imagery, including inscriptions in Arabic, as here, was often combined with Christian themes. It includes compositions in which figures resembling saints alternate with two-storied, domed structures that may represent monastic communities. A smaller vessel in the Walters collection (Walters 47.18), perhaps made to pair with this beaker, depicts a figure riding a grey donkey -- possibly Christ entering Jerusalem.
|4/01/1980||Examination||examined for condition|
- Renaissance of Islam: Art of the Mamluks. Smithsonian National Museum of Natural History, Washington; Minneapolis Institute of Art, Minneapolis; The Metropolitan Museum of Art, New York; Cincinnati Art Museum, Cincinnati; The Detroit Institute of Arts, Detroit; Crocker Art Museum, Sacramento; San Diego Museum Of Art, San Diego; Phoenix Art Museum, Phoenix; Wadsworth Atheneum Museum of Art, Hartford. 1981-1983.
- Highlights from the Collection. The Walters Art Gallery, Baltimore. 1998-2001.
- Venice and The Islamic World, 827-1797 (Venise et l'Orient). Institut du Monde Arabe, Paris Cedex 05; The Metropolitan Museum of Art, New York. 2006-2007.
- Jerusalem 1000–1400: Every People Under Heaven. The Metropolitan Museum of Art, New York. 2016-2017.
Provenance G. Dattari, Cairo, by 1912. Sale, Hirsch-Sambon, Paris, 1912, lot nos. 608, 609. Dikran Kelekian, Paris and New York, by 1925; purchased by Henry Walters, Baltimore, 1925; by bequest to Walters Art Museum, 1931.
Inscriptions [Translation] Glory to our lord the Sultan, the royal, the diligent, the wise, the defender, the protector of frontiers, the fortified by God, the triumphant
Credit Acquired by Henry Walters, 1925
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