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Teapot, 1891–94, Made in Trenton, New Jersey, United States, American, Porcelain, H. 6 in. (15.2 cm); Diam. 7 in. (17.8 cm), Ceramics, American Art China Company (1891–1894

Self-Portrait, ca. 1910, Oil on canvas, 40 1/8 x 33 1/8 in. (101.9 x 84.1 cm), Paintings, William Orpen (British, 1878–1931), Born in Ireland, William Orpen studied in Dublin from 1892 to 1896 and went to London for further study at the

Folio from a Qur'an Manuscript with Verses from the Surat al-Maryam, 14th century, Made in Egypt or Syria, Ink, opaque watercolor, and gold on paper, Ht. 13 in. (33 cm), Codices, In these folios from a Mamluk Qur’an manuscript, verses are

Dancer with a Fan, ca. 1880, Pastel on gray-green laid paper, 24 x 16 1/2 in. (61 x 41.9 cm), Drawings, Edgar Degas (French, Paris 1834–1917 Paris), This study is for the central figure in Degas's Dancers in the Classroom of about 1880

Clock, ca. 1885, Made in New York, New York, United States, American, Marble, bronze, 18 1/8 x 20 1/8 x 7 3/4 in. (46 x 51.1 x 19.7 cm), Metal, Tiffany & Co. (1837–present), Tiffany & Co. marketed this ormolu and marble mantel set in

Plate Two from Plusieurs Models des plus nouuelles manieres qui sont en usage en l'Art de Arquebuzerie, ca. 1660, Paris, French, Paris, Engraving, sheet: 7 7/8 x 5 3/4 in. (20 x 14.6 cm); plate: 7 7/16 x 5 5/16 in. (18.9 x 13.5 cm), Works on

Objects of Art from the Louvre, 1874, Oil on canvas, 28 3/4 x 36 1/4 in. (73 x 92.1 cm), Paintings, Blaise-Alexandre Desgoffe (French, Paris 1830–1901 Paris

Marble relief with Hermes, Augustan or Julio-Claudian, 27 B.C.–A.D. 68, Roman, Marble, Overall: 26 3/4 x 23 1/2in. (67.9 x 59.7cm), Stone Sculpture, The messenger god Hermes is represented in the so-called archaistic style, a retrospective

近代, 吳昌碩, 烹茶圖, 橫軸, Brewing Tea, dated 1918, China, Horizontal painting; ink on paper, 15 9/16 x 54 in. (39.5 x 137.2 cm), Paintings, Wu Changshuo (Chinese, 1844–1927), Wu Changshuo created a distinctive style that

Cosmetic Vessel in the Shape of a Dwarf, New Kingdom, Amarna Period, Dynasty 18, ca. 1353–1323 B.C., From Egypt; Said to be from Middle Egypt, Amarna (Akhetaten), Travertine (Egyptian alabaster) (?), H. 20.8 cm (8 3/16 in.); W. 9 cm (3 9/16

Enthroned Vishnu, Pandyan period (early 4th–13th century), second half of the 8th–early 9th century, India, Granulite, H. 9 ft. 9 in. (296.8 cm), Sculpture, This monumental sculpture — the largest in the Museum’s South Asian

Kushite Pharaoh, Late Period, Kushite, Dynasty 25, ca. 713–664 B.C., From Egypt and Sudan, Nubia, Bronze; precious-metal leaf, h. 7.6 cm (3 in.); w. 3.2 cm (1 1/4 in); d. 3.6 cm (1 3/8 in), The small bronze kneeling king represents two

View Near Fishkill (No. 17 of The Hudson River Portfolio), 1823–24, Aquatint printed in color with hand-coloring; first state of two or three (Koke), Image: 14 1/16 x 20 3/16 in. (35.7 x 51.3 cm), Prints, after William Guy Wall (Irish, Dublin

Mask, 3rd–7th century, Mexico, Mesoamerica, Teotihuacan, Greenstone, H. 9 5/16 x W. 9 3/4 x D. 4 1/4 in. (23.7 x 24.8 x 10.8cm), Stone-Sculpture, There was no tradition of portraiture at the great central Mexico city of Teotihuacan, but

The Lacemaker, ca. 1665, Oil on canvas, 28 1/4 x 38 1/4 in. (71.8 x 97.2 cm), Paintings, Bernhard Keil (Danish, 1624–1687), After training in his native Denmark, Bernhard Keil worked in Rembrandt’s studio and then, in 1651, left Holland

Mémoire sur un rouet a filer des deux mains a la fois, 1777, Paris, France, vi, 7-22 pages: illustrated plates; Height: 9 13/16 in. (25 cm), Description of a new system of spinning simultaneously with both hands, with inscription: “Ce

Pendant, ca. 1901, French, Paris, Gold, enamel, opal, pearl, diamonds, 3 x 2-3/8 in. (7.6 x 6.0 cm), Metalwork-Gold and Platinum, René-Jules Lalique (French, Aÿ 1860–1945 Paris), French Art Nouveau jeweler René Lalique was perhaps

Flower-Style Box with Drawers, 17th century, Attributed to India, Wood (poplar); overlaid with ebony inlaid with wood and incised, stained ivory, H. 11 in., Wood, Rows of graceful flowering plants are frequently used as a design element in

Two Princesses, New Kingdom, Amarna Period, Dynasty 18, ca. 1353–1336 B.C., From Egypt, Middle Egypt, Hermopolis (Ashmunein; Khemenu), Pylon of Ramesses II, Foundations, Deutsche Hermopolis Expedition 1939; Probably originally from Amarna

Nadar Élevant la Photographie à la Hauteur de l'Art, May 25, 1862, Lithograph, image without text: 10 1/2 x 8 11/16 in. (26.7 x 22.1 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

Buffe, ca. 1550, French, Steel, gold, H. 8 7/8 in. (22.5 cm); W. 7 1/4 in. (18.4 cm); D. 4 3/4 in. (12.1 cm); Wt. without burgonet 1 lb. 2 oz. (499 g), Helmets Parts, This buffe belongs to a burgonet. The medallions on either side of the

The Presentation of Christ in the Temple, ca. 1435, Tempera and gold on wood, Overall 15 1/2 x 18 1/8 in. (39.4 x 46 cm); painted surface 15 1/4 x 17 1/4 in. (38.7 x 43.8 cm), Paintings, Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian,

Shiva, pre-Angkor period, mid- 7th century, Southern Cambodia, Sandstone, H. 24 in. (61 cm); W. 7 3/4 in. (19.7 cm); D. 4 in. (10.2 cm), Sculpture, Sculptures of Shiva in human form began to appear in Khmer art in the seventh century,

The Schoolmaster, ca. 1762, French, Sèvres, Soft-paste biscuit porcelain, Height: 8 5/16 in. (21.1 cm), Ceramics-Porcelain, After a drawing by François Boucher (French, Paris 1703–1770 Paris), Works of art by the French artist François

Lotiform Chalice, Third Intermediate period, Dynasty 22-25, ca. 945–664 B.C., Said to be from Middle Egypt, Tuna el-Gebel region; From Egypt, Faience, h. 14.5 cm (5 11/16 in), The fragrant blossom of the blue lotus is a common motif in all

Plaque, second quarter 13th century, Made in Limoges, France, French, Champlevé enamel, copper, Overall: 5 1/4 x 5 1/4 x 1/16 in. (13.4 x 13.4 x 0.2 cm), Enamels-Champlevé, The medieval metalworker's craft was often closely allied to the

Pair of vases, ca. 1795–1800, Russian, Archangelsk, Walrus and elephant ivory, 8 5/8 × 3 × 3 in. (21.9 × 7.6 × 7.6 cm), Natural Substances-Ivory, Nikolai Stepanovich Vereshchagin (ca. 1795–1813), The art of bone-carving in Russia is

Band Fragment with Masks, Lotus Flowers, and Birds, 400–700, Made in Byzantine Egypt, Coptic, Tapestry weave in polychrome wool and undyed linen, Overall: 8 1/2 x 1 1/4 in. (21.6 x 3.2 cm), Textiles-Woven, Lotus blossoms, a decorative

Archangel Gabriel; The Virgin Annunciate, ca. 1510, Oil on oak panel, Left wing: 34 1/2 x 11 5/8 in. (87.7 x 29.5 cm), painted surface 34 x 11 in. (86.4 x 27.9 cm); right wing: 34 1/2 x 11 3/4 in. (87.6 x 30 cm), painted surface 34 x 11 1/8 in.

The Crucifixion; The Last Judgment, ca. 1440–41, Oil on canvas, transferred from wood, Each 22 1/4 x 7 2/3 in. (56.5 x 19.7 cm), Paintings, Jan van Eyck (Netherlandish, Maaseik ca. 1390–1441 Bruges) and Workshop Assistant, Philip the

Stirrup Spout Bottle: Mouse, 12th–5th century B.C., Peru, Chiclayo, Cupisnique, Ceramic, H. 8 in. (20.3 cm), Ceramics-Containers, Despite its pervasiveness, the spread of Chavín art throughout much of Peru in the first millennia B.C. did

Welcoming Descent of Amida and Bodhisattvas, 阿弥陀聖衆来迎図, Nanbokuchō period (1336–92), late 14th century, Japan, Hanging scroll; ink, color, and gold on silk, 65 3/4 x 33 1/2 in. (167 x 85.1 cm), Paintings, Unidentified

The Mourning Virgin; The Man of Sorrows, Oil on oak, Each 16 x 12 1/2 in. (40.6 x 31.8 cm), Paintings, Posthumous Workshop Copy after Dieric Bouts (Netherlandish, Leuven, ca. 1525), One of numerous copies of a lost original by Bouts, this

Icon of the Lamentation, 12th–13th century, Made in Venice or ?, Byzantine, Ivory, Overall: 3 13/16 x 1 3/4 x 5/16 in. (9.7 x 4.4 x 0.8 cm), Ivories, The Lamentation over the body of the dead Christ is set between mountain peaks. The Virgin

Lady of the Lake, ca. 1936–39, Oil on canvas, 20 1/2 x 36 in. (52.1 x 91.4 cm), Paintings, Horace Pippin (American, West Chester, Pennsylvania 1888–1946 West Chester, Pennsylvania), A self-taught artist from Pennsylvania, Pippin only

Modern Art, 1895, Lithograph, Sheet: 20 1/16 × 15 3/8 in. (51 × 39.1 cm), Arthur Wesley Dow (American, Ipswich, Massachusetts 1857–1922 New York State

Marble head of Athena, Hellenistic, ca. 200 B.C., Greek, Marble, H. 19 in. (48.26 cm), Stone Sculpture, The dynamic movement and passionate expression of this colossal head mark it as a rare example of monumental art from the late third to the

清, 趙之謙, 篆書五言, 對聯, Couplet, Qing dynasty (1644–1911), dated 1867, China, Pair of hanging scrolls; ink on paper, Image (each): 71 5/8 x 18 15/16 in. (181.9 x 48.1 cm), Calligraphy, Zhao Zhiqian (Chinese, 1829–1884),

The Wedding Feast of Cupid and Psyche, 1558, French, Limoges, Painted enamel on copper, partly gilt, 19 3/4 × 15 1/4 × 1 3/4 in. (50.2 × 38.7 × 4.4 cm), Enamels, Pierre Reymond (born 1513, working 1537, died after 1584), Enameling is a

Plate Six from Plusieurs Models des plus nouuelles manieres qui sont en usage en l'Art de Arquebuzerie, ca. 1660, Paris, French, Paris, Engraving, sheet: 7 1/16 x 5 3/8 in. (17.9 x 13.7 cm), Works on Paper-Engravings, Little is known about

Etruscan Vase with Flowers, 1900–1910, Tempera on canvas, 32 x 23 1/4 in. (81.3 x 59.1 cm), Paintings, Odilon Redon (French, Bordeaux 1840–1916 Paris), This bouquet, which combines real and imaginary flowers, perfectly illustrates

Head of a Youth, ca. 1150–75, Made in Provence, France, French, Limestone, Overall: 7 1/16 x 5 11/16 x 5 5/8 in. (18 x 14.4 x 14.3 cm), Sculpture-Stone, The pilgrimage church of Saint-Gilles-du-Gard reveals the strong influence of antiquity

Vase in Shape of Archaic Bronze Vessel with Flowers and Birds, Qing dynasty (1644–1911), Kangxi period (1662–1722), late 17th–early 18th century, China, Porcelain painted with colored enamels over transparent glaze and gilded (Jingdezhen

Marble pilaster with acanthus scrolls, Early Imperial, Julio-Claudian, 1st half of 1st century A.D., Roman, Marble, Overall: 138 x 28in. (350.5 x 71.1cm), Stone Sculpture, The acanthus scroll that decorates the pilaster, presumably from a

Adze, before 16th century, Mexico, Mesoamerica, Chiapas, Maya (?), Stone, Height 4-7/16 in., Stone-Implements, Greenstone axe heads, commonly known as “celts, ” were some of the most important works of art across ancient Mesoamerica and

Terracotta antefix, Augustan, late 1st century B.C.–early 1st century A.D., Roman, Terracotta, H.: 14 1/4 in. (36.2 cm), Terracottas, The palmette-shaped antefix is decorated with the butting heads of two billy goats. Such representations

Face attributed to Ptolemy II Philadelphos or a contemporary, Ptolemaic Period, Ptolemaic Dynasty, 285–246 B.C., From Egypt, Memphite Region, Heliopolis (Iunu; On), Near the obelisk, BSAE excavations 1912, Graywacke, H. 16.2 cm (6 3/8

Altar Ring, 16th century, Nigeria, Lower Niger River region, Yoruba peoples, Ife group , Brass or copper alloy, Diam. 7 1/2 in. (19 cm), Metal-Sculpture, Works in metal in a wealth of bronzes in a variety of styles and types are found

Terracotta male head, Late Cypriot III, ca. 1200–1050 B.C., Cypriot, Terracotta; hand-made, H. 4 15/16 in. (12.2 cm), Terracottas, The facial features and flat upper skull of this large head and the nearby female statuettes are

Table Lamp, 1910–15, Made in New Jersey, United States, American, Shade and base: glazed pottery; shade inset with glass, H. 19 5/8 in. (49.8 cm.); Diam. 17 in. (43.2 cm), Ceramics, Fulper Pottery Company (1899–1935), The Fulper Pottery

Bird Pendant, 10th–16th century, Colombia, Guatavita Lake region, Muisca, Gold (cast), H. 2 3/8 in. (6 cm), Metal-Ornaments, This pendant is an elegant example of the command of the goldsmith's art that existed for so many centuries in

清 佚名 乾隆頭等侍衛占音保像 軸, Portrait of the Imperial Bodyguard Zhanyinbao, Qing dynasty (1644–1911), dated 1760, China, Hanging scroll; ink and color on silk, Painting and inscription: 74 1/4 x 37 7/16 in. (188.6 x 95.1

Bowl with Geometric Rosette, 1100–1150, Byzantine, Engraved slip ware:orange clay, cream slip, transparent yellowish glaze, Overall: 2 15/16 x 7 7/8 in. (7.5 x 20 cm), Ceramics, A compass was used for drawing decorative bands on pottery.

Double-Barrel Breech-Loading Pinfire Shotgun, dated 1866, Paris, French, Paris, Steel, wood (walnut), gold, L. 44 1/8 in. (112 cm), Firearms-Guns-Wheellock, The Second Empire (1852–70) marked the twilight of French gunmaking, which had

Centaur, Cypro-Archaic II, ca. 600–480 B.C., Cypriot, Terracotta; hand-made, H. 4 3/4 in. (12.1 cm), Terracottas, Figurines of centaurs are popular in Cypriot art and are often found as offerings in sanctuaries, which suggests that they had

Bronze man and centaur, Geometric, mid-8th century B.C., Greek, Bronze, H. 4 3/8 in. (11.10 cm), Bronzes, Half man, half horse, the centaurs were thought to inhabit remote wooded areas. In much of Greek art, they appear in combat with

Tureen in the form of a capercaillie, ca. 1750, French, Strasbourg, Faience (tin-glazed earthenware), Overall (confirmed): 20 1/2 x 18 1/4 x 14 1/4 in. (52.1 x 46.4 x 36.2 cm), Ceramics-Pottery, Although we ought not to judge works of art by

Gauntlet for the Left Hand, ca. 1557, Augsburg, German, Augsburg, Steel, gold, copper alloy, leather, L. 12 in. (30.5 cm), Armor Parts-Gauntlets, The decoration of this gauntlet matches that of a complete armor (now in the Art History

Bronze mirror with a support in the form of a draped woman, Classical, mid-5th century B.C., Greek, Argive, Bronze, H. 15 15/16 in. (40.41 cm), Bronzes, The integration of three-dimensional figures into the design of a functional object is a

The Annunciation, ca. 1644, Oil on oak, Overall, 28 x 28 3/4 in. (71.1 x 73 cm); painted surface, 27 1/4 x 27 3/4 in. (69.2 x 70.5 cm), Paintings, Philippe de Champaigne (French, Brussels 1602–1674 Paris), Philippe de Champaigne was one of

View of the Bay of Naples with Vesuvius, Smoking, in the Distance (Evening), 1871, Watercolor with touches of gouache over graphite, 19-1/2 x 29 5/8 in. (49.5 x 75.3 cm), Drawings, Alfred William Hunt (British, Liverpool 1830–1896 London),

Veranda Post: Equestrian Figure and Female Caryatid, before 1938, Nigeria, Yorubaland, Efon-Alaiye region, Yoruba peoples, Ekiti group, Wood, pigment, H. 71 x W. 11 1/4 x D. 14 in. (180.3 x 28.6 x 35.6 cm), Wood-Architectural, Olowe of Ise

Bronze hydria (water jar), Classical, mid-5th century B.C., Greek, Argive, Bronze, H. with handle 20 1/4 in. (51.41 cm), Bronzes, Inscribed on top of the mouth 'one of the prizes from Argive Hera'. This hydria, like Greek art in all its

Jar, Northern Qi dynasty (550–577), late 6th century, China, Earthenware with relief decoration under an olive green glaze, H. 13 7/8 in. (35.2 cm); Diam. 8 3/4 in. (22.2 cm); Diam. of rim 5 3/8 in. (13.7 cm); Diam. of foot 6 in. (15.2 cm),

Sibylle, ca. 1870, Oil on canvas, 32 1/4 x 25 1/2 in. (81.9 x 64.8 cm), Paintings, Camille Corot (French, Paris 1796–1875 Paris), This handsome work ranks as one of Corot's most accomplished efforts at approximating Raphael’s High

Circe, 1865, Albumen silver print from glass negative, 25.3 x 20.1 cm. (9 15/16 x 7 15/16 in.), Photographs, Julia Margaret Cameron (British (born India), Calcutta 1815–1879 Kalutara, Ceylon), My aspirations are to ennoble Photography, '

'Moth' Pendant and Box, ca. 1900, Pendant: Gold, champlevé enamel, citrines, carved horn; Box: cardboard, silk, H. 3, W. 3-5/8 in. (7.6 x 9.2 cm), Jewelry, Lucien Gaillard was the son and grandson of Parisian jewelers, as well as the

Spouted Jar, mid-1st century B.C.–A.D. 1st century, Guatemala or Mexico, Mesoamerica, Maya, Indurated limestone, H. 5 in. (12.7 cm), Stone-Containers, This spouted vessel is one of the most elegantly sculpted stone containers in the corpus

Madonna and Child, ca. 1290–1300, Tempera and gold on wood, Overall, with engaged frame, 11 x 8 1/4 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm), Paintings, Duccio di Buoninsegna (Italian, active by 1278–died

Plate Three from Plusieurs Models des plus nouuelles manieres qui sont en usage en l'Art de Arquebuzerie, ca. 1660, Paris, French, Paris, Engraving, sheet: 7 x 5 1/8 in. (17.8 x 13 cm), Works on Paper-Engravings, Little is known about the

The Jewish Woman of Algiers, 1862, French, Paris, Red and white marble pedestal with gilt-bronze mounts and ornaments, Pedestal (confirmed): H. 41 3/8 x W. 18 1/4 x D. 18 1/4 x 11 3/4 in., 551.2lb. (105.1 x 46.4 x 46.4 x 29.8 cm, 250kg),

L'art de former les jardins modernes, ou, L'art des jardins anglois : traduit de l'anglois : à quoi le traducteur a ajouté un discours préliminaire sur l'origine de l'art, des notes sur le texte, & une description détaillée des jardins de

Decorative Element, 9th–10th century, Attributed to Egypt, Rock crystal; carved, H. 3 in. (7.6 cm), Stone, This carved crystal element may have contained perfume. Rock crystal carving, an art requiring great skill and manual dexterity,

Plate Seven from Plusieurs Models des plus nouuelles manieres qui sont en usage en l'Art de Arquebuzerie, ca. 1660, Paris, French, Paris, Engraving, sheet: 7 1/2 x 5 1/2 in. (19.1 x 14 cm), Works on Paper-Engravings, Little is known about the

Ce est ung tractat de la noble art de leguille ascavoir ouvraiges de spaigne... page 3 (recto), after 1527, Woodcut, Overall: 6 7/8 x 5 11/16 in. (17.5 x 14.5 cm), Printed by Willem Vosterman. From top to bottom, and left to right: Design

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 2r), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch aller Art Nehens vn Stickens (Page 12v), Publisher, Christian Egenolff, German, Hadamar 1502–1555 Frankfurt, Egenolff, Christian, German, 1502, 1555, 1535, 1535

Terracotta chariot krater, Late Helladic IIIB, ca. 1300–1230 B.C., Helladic, Mycenaean, Terracotta, H. 16 3/8 in. (41.6 cm), Vases, The chariot was an important motif in art from the Greek mainland; its frequency on Mycenaean pictorial

Ce est ung tractat de la noble art de leguille ascavoir ouvraiges de spaigne... page 23 (verso), after 1527, Woodcut, Overall: 6 7/8 x 5 11/16 in. (17.5 x 14.5 cm), Printed by Willem Vosterman. From top to bottom, and left to right: Design

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 9r), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 17v), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 13r), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Two Lohans, ca. 1480, Attributed to Iran, possibly Tabriz, Ink and transparent watercolor on paper, Page: H. 13 9/16 in. (34.5 cm), Codices, Images of ascetic figures such as these, referred to as lohans in Buddhist tradition, appear

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 21r), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 35v), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Bowl, ca. 1897, Made in Trenton, New Jersey, United States, American, Porcelain, overglaze enamel decoration, H. 3 in. (7.6 cm); Diam. 7 13/16 in. (19.8 cm), Ceramics, Ceramic Art Company (American (Trenton, New Jersey), 1889–1896

Landscape with Rising Sun, December 1, 1828, 8:30 a.m., 1828, Watercolor over graphite on white wove paper, sheet: 4 3/16 x 6 3/4 in. (10.6 x 17.1 cm), Drawings, Joseph Michael Gandy (British, London 1771–1843 London), Gandy, who made

Square with Putti in a Nilotic Landscape, 4th–5th century, Attributed to Egypt, Akhmim (former Panopolis), Linen, wool; plain weave, tapestry weave, 6.87 in. high 5.50 in. wide (17.5 cm high 14 cm wide), Textiles, Images of the fertility

Pomegranates, 清 瑪瑙石榴擺件, Qing dynasty (1644–1911), 18th century, China, Agate, H. 4 1/2 in. (11.4 cm); W. 7 1/2 in. (19.1 cm), Hardstone, As the Chinese character for “seed” (zi) is the same as that for “son, ” the

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch aller Art Nehens vn Stickens (Page 6r), Publisher, Christian Egenolff, German, Hadamar 1502–1555 Frankfurt, Egenolff, Christian, German, 1502, 1555, 1535, 1535

View of St. Peter's and the Vatican from the Janiculum, 1754, Black chalk with stumping, heightened with white, Sheet: 11 3/16 × 16 7/8 in. (28.4 × 42.9 cm), Drawings, Richard Wilson (British, Penegoes, Wales 1712/13–1782 Denbighshire,

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 20v), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Groom and Rider, 1540–50, Attributed to Iran, Tabriz, Ink and watercolor on paper, Painting: H. 4 3/8 in. (11.1 cm), Codices, The subject of horseman and groom is common in Safavid art. The rider’s handsome appearance and elegant posture

Ce est ung tractat de la noble art de leguille ascavoir ouvraiges de spaigne... page 20 (verso), after 1527, Woodcut, Overall: 6 7/8 x 5 11/16 in. (17.5 x 14.5 cm), Printed by Willem Vosterman. From top to bottom, and left to right: Design

Palette inscribed for Smendes, High Priest of Amun, Third Intermediate Period, Dynasty 21, ca. 1045–992 B.C., From Egypt; Probably from Upper Egypt, Thebes, Wood, ink, reed, Palette: L. 48.6 cm (19 1/8 in.); W. 7.2 cm (2 13/16 in.); Th.

Stupa, mid-15th century, Tibet, Brass, H. 20 in. (50.8 cm); W. 7 1/4 in. (18.4 cm); Diam. 6 7/8 in. (17.5 cm), Sculpture, The stupa (Tibetan: chorten) is the most ancient form of Buddhist art, symbolizing the monumental funerary mounds of

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 26r), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Cigarette Case, ca. 1925, Dyed and tooled leather, gold leaf, 3 1/8 x 2 1/2 x 1 1/8in. (7.9 x 6.4 x 2.9cm), Leather, Legrain understood the principals and aesthetics of both modern and African art to a degree that most other designers of the

南蛮人蒔絵印籠, Inrō with Portuguese Figures, Edo period (1615–1868), late 18th–early 19th century, Japan, Four cases; lacquered wood with gold hiramaki-e and cut-out gold foil application on black ground, H. 3 3/4 in. (9.5 cm); W.

Bronze statuette of a youth carrying a pig, Classical, early 5th century B.C., Etruscan, Bronze, H.: 3 3/8 x 4 3/8 in. (8.6 x 11.1 cm), Bronzes, Statues of youths or gods carrying animals to sacrifice are common in Greek art but relatively

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