Isabella Stewart Gardner kept meticulous records of many of her acquisitions. In keeping with this legacy, object information is continually being reviewed, updated, and enriched in order to give greater access to the collection.
Permanent Gallery Location
Little Salon
Bibliography
Gilbert Wendel Longstreet and Morris Carter. General Catalogue (Boston, 1935), p. 145.
The use of images, text, and all other media found on this website is limited. Please review Rights and Reproductions for details.
As a seasoned art historian and museum curator, my extensive expertise in the field of cultural heritage and fine arts allows me to shed light on the intricacies of the provided information. My knowledge extends beyond the surface, delving into the historical context, provenance, and significance of art pieces.
Let's dissect the details surrounding the accession number M18e45.x, a fascinating artifact with a rich history. The primary creator is identified as Moroccan, emphasizing the cultural and geographical origin of the piece. The full title, "Morocco Case," suggests a connection to Moroccan artistry or craftsmanship, indicative of the intricate designs and cultural influences prevalent in the early 20th century.
The creation date further anchors this artifact in history, pointing to the early 20th century—a period marked by various art movements and cultural shifts. This temporal context is crucial for understanding the artistic styles and influences that might have shaped the Morocco Case.
The provenance of the artifact adds an intriguing layer to its story. Gifted from the renowned actress, singer, and poet Mrs. Fiske Warren (Gretchen Osgood, 1871-1961) to Isabella Stewart Gardner on December 25, 1923, this exchange establishes a direct link between the creator and the recipient. Mrs. Fiske Warren's background as a multifaceted artist brings forth questions about her personal connection to the Morocco Case and the motivations behind such a generous gift.
The dimensions, measuring 7 x 7.3 cm (2 3/4 x 2 7/8 in.), provide a physical understanding of the artifact's size and scale, contributing to its overall visual impact. The use of gold-tooled leather as the display medium suggests a meticulous craftsmanship that combines artistic expression with skilled techniques.
Isabella Stewart Gardner's commitment to meticulous record-keeping is highlighted in the web commentary. This dedication to documentation ensures that the object's information is continually reviewed, updated, and enriched. It reflects a legacy of preservation and accessibility, allowing for a deeper understanding of the collection over time.
The permanent gallery location, the Little Salon, signifies the curated placement of the Morocco Case within the museum. Understanding the spatial context adds to the overall appreciation of the artifact within the broader collection.
For those interested in further exploration, the bibliography entry by Gilbert Wendel Longstreet and Morris Carter in the General Catalogue (Boston, 1935), specifically on page 145, offers a potential avenue for more in-depth research and contextualization.
Lastly, the mention of rights and reproductions emphasizes the importance of respecting intellectual property and usage restrictions. Interested individuals should review the Rights and Reproductions guidelines for details on the limited use of images, text, and other media found on the museum's website.
In conclusion, the Morocco Case encapsulates a wealth of historical, cultural, and artistic significance. Its journey from creator to recipient, coupled with meticulous record-keeping and contextualization, allows enthusiasts and scholars alike to appreciate and delve into the layers of its story.
The front and back sides are stitched together. There is a slit-like opening at the top center of both pieces, where a long, narrow, knotted strip of leather passes through and can be used as a handle or to close the pouch.
France signed the Treaty of Fes with Morocco's Sultan Abdul Hafiz in 1912, officially making Morocco a French protectorate and spending the subsequent years establishing a colony there. During World War I, France conscripted some 40,000 Moroccan soldiers to fight in its colonial army.
The natural dyes used in the tanning process give the leather a rich, unique color that you simply can't get from synthetic dyes. Plus, the manual process ensures that each piece of leather is one-of-a-kind. But it's not just the process that makes Moroccan leather so special, it's also the quality.
Although maracas are traditionally made from hollowed and dried gourds, today they are more commonly found in plastic, metal, and wooden forms. 2. The term 'maraca' likely has origins in the pre-Columbian Araucanian language, and its heritage as a rattle is ancient. 3.
The English Morocco is an anglicisation of the Spanish name for the country, Marruecos, derived from the name of the city of Marrakesh, which was the capital of the Almoravid dynasty, the Almohad Caliphate, and the Saadian dynasty.
Marrakechمراكش is the original name of the region since 900s AD. Al-Maghreb بلاد المغرب is the official name adopted by 'Moroccans' state, which means West in Arabic, although Almaghreb as a name is given to the land west of Egypt in North Africa: starts from Libya-Tubruk to 'Maghreb'/Morocco- Marrakech.
But Morocco is also a member of the Arab League - so officially belongs to both cultural spheres. While the adjective "African" to describe Morocco is a geographical fact, the use of "Arab" has also alienated many Moroccans who do not identify as such.
Indigenous Berber monarchs ruled the territory from the 3rd century BCE until 40 CE, when it was annexed to the Roman Empire. In the mid-5th century CE, it was overrun by Vandals, before being recovered by the Byzantine Empire in the 6th century.
Exfoliation and skin-softening are a huge part of the hammam experience, she says—after applying a coat of clay to the entire body and rinsing it off, women then cover themselves with Beldi soap, a gel-like formula made from saponified olive oil. It's essentially used as a full-body mask while steaming.
The finest grades of Morocco leather are goatskin, but by the late 19th century other skins often were substituted in practice, particularly sheepskin and split calfskin. For example, French Morocco is a variety made of sheepskin. The tanning process varied widely, but the traditional tanning material was sumac.
Mohammed VI (Arabic: محمد السادس, romanized: Muḥammad as-sādis; born 21 August 1963) is King of Morocco. A member of the 'Alawi dynasty, he acceded to the throne on 23 July 1999, upon the death of his father, King Hassan II.
You might wonder if Morocco is expensive for travel - but in fact there are a number of budget-friendly ways to get around. It's important to remember, though, that public transport is limited, and so travelling to very remote areas can be more challenging and potentially more expensive.
Morocco's legal system is a mixture of several from around the world. Morocco's legal system is a combination of both Muslim Law and Civil Law. Civil Law originates from Continental Europe and it consists of an actual written code. It is a rational (based on reason) code that is universal (applies to everyone).
Morocco is a constitutional monarchy with an elected parliament and a mixed legal system of civil law, mainly based on French law, and some influence from Islamic law.
Petty crime is common, especially in tourist areas like the medina quarter (historical district) of towns/cities and on beaches. Crimes include: pickpocketing. bag snatching.
Since independence, Moroccan law has been shaped by French Civil Law and. a combination of Muslim and Jewish traditions. The Constitution of Morocco. has also played a pivotal role in shaping the law and legal system in Morocco.
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