Images at Librifly

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Relief: two servants bearing food and drink, Achaemenid, ca. 358–338 B.C., Iran, Persepolis, Achaemenid, Limestone, H. 86.5 cm, Stone-Reliefs, The monumental art and architecture of the Achaemenid period are best exemplified by the ruins

Krishna Dancing: Page from the Dispersed 'Boston' Rasikapriya (Lover's Breviary), ca. 1610, India (Rajasthan, Amber), Ink, opaque watercolor, and gold on paper, Image: 8 1/2 × 5 1/4 in. (21.6 × 13.3 cm), Paintings, Krishna plays the flute

Covered Box with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), H. 2 in. (5.1 cm); W. 8 1/4 in. (21 cm); D. 2 in. (5.1 cm), Lacquer, This covered box, part of a

L'art de la coëffure des dames françoises, avec des estampes : où sont représentées les têtes coëffées, gravées sur les dessins originaux de mes accommodages, avec le traité en abrégé d'entretenir & conserver les cheveux naturels,

Bas Relief from the Arch of Constantine, Rome, 1849, Paper negative, Image: 12 3/4 × 9 15/16 in. (32.4 × 25.2 cm), Negatives, Frédéric Flachéron (French, 1813–1883), The sculptor, medalist, and photographer Flachéron arrived at the

Pitcher, ca. 1100–1150, South Italian, Copper alloy, cast, Overall: 3 7/16 x 4 7/8 x 3 9/16 in. (8.7 x 12.4 x 9.1 cm), Metalwork-Copper alloy, The griffins and lions decorating this pitcher attest to the popularity of Islamic designs on

Pendant: hippocamp, Classical, 5th century B.C., Etrusco-Campanian, Amber, H.: 2 3/16 in. (5.5 cm), Miscellaneous-Amber, Pendant of a swimming hippocamp, a mythical creature depicted often in Etruscan art as a guardian or guide to the

The Seley Carpet, late 16th century, Made in Iran, Silk (warp), cotton (weft), wool (weft and pile); asymmetrically knotted pile, Rug: L. 280 in. (711.2 cm), Textiles-Rugs, This is one of the finest Persian carpets known, produced at a time

Box with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), L. 12 in. (30.5 cm), Lacquer, This covered box, part of a wedding trousseau, comprised of thirty-one

Belt Ornament, 2nd–7th century, Peru, Moche, Copper, H x W: 4 1/2 x 4in. (11.4 x 10.2cm), Metal-Ornaments, This small hollow ornament is made of a hammered copper sheet folded along the top. Similar ornaments are illustrated in Moche art,

Terracotta head of a woman, probably a sphinx, Archaic, 1st quarter of the 5th century B.C., Greek, Terracotta, H. 8 1/8 in. (20.7 cm), Terracottas, Terracotta sculpture of large scale and high quality is rare in Greek art of the mainland as

'Paris', 1919, French, silk, wool, metallic thread, Poiret once ruefully admitted that he could not sew and was thus unable to fully control all aspects of his art. However, it was this very absence of training in tailoring and dressmaking

Terracotta neck-amphora (jar), Archaic, ca. 540 B.C., Etruscan, Terracotta; black-figure, Pontic ware, H. 13 13/16 in. (35.1 cm), Vases, Obverse, couples banqueting. Reverse, centaur flanked by heralds. Lower frieze, man herding bulls.

Miniature terracotta squat lekythos (oil flask) with siren, Classical, mid-5th century B.C., Greek, Attic, Terracotta; red-figure, H. 3 5/16 in. (8.5 cm.), Vases, In Greek mythology, sirens, human-headed birds known for their beautiful

Bronze relief from a mirror, Late Classical, 4th century B.C., Greek, Bronze, H. 6 1/2 in. (16.5 cm.), Bronzes, Aphrodite seated on a rock with two Erotes and a swan. Aphrodite's connection to the swan is not mentioned in literature, although

The Unicorn in Captivity (from the Unicorn Tapestries), 1495–1505, South Netherlandish, Wool warp with wool, silk, silver, and gilt wefts, Overall: 144 7/8 x 99 in. (368 x 251.5 cm), Textiles-Tapestries, The seven individual hangings known

Quiver (mda' shubs) with Accessory, late 13th–15th century, Tibetan or Mongolian, Leather, iron, copper alloy, wicker (bamboo or cane), wood, L. 32 1/2 in. (82.6 cm); W. 8 7/8 in. (22.5 cm), Archery Equipment-Bows, This quiver represents

[Auguste Rodin's The Clenched Hand], before 1898, Gelatin silver print, Image: 29.9 x 39.5 cm (11 3/4 x 15 9/16 in.), Plaster-Cylinder Seals-Inscribed, Eugène Druet (French, 1868–1917), Throughout his career Rodin made constant use of

Blumenbachia hieronymi, 1915–25, Gelatin silver print, Image: 29.8 x 23.8 cm (11 3/4 x 9 3/8 in.), Photographs, Karl Blossfeldt (German, 1865–1932), Professor Karl Blossfeldt began his exploration of forms in nature in 1890, but his

The Flagellation, ca. 1400, Oil, egg(?), and gold on plywood, transferred from wood, 22 3/4 x 16 7/8 in. (57.8 x 42.9 cm), Paintings, Master of the Berswordt Altar (German, Westphalian, active ca. 1400–35), These panels were among thirty

Marble relief with Herakles carrying the Erymanthian Boar, Augustan or Julio-Claudian, 27 B.C.–A.D. 68, Roman, Marble, Overall: 27 3/8 x 19 1/8 x 3 1/4in. (69.5 x 48.6 x 8.3cm), Stone Sculpture, Large marble reliefs of this type were set

Vase, 1905–15, Made in White Mills, Pennsylvania, United States, American, Blown and etched glass, H. 14 1/4 in. (36.2 cm); Diam. 15 in. (38.1 cm), Glass, In contrast to the deeply cut and finely engraved decoration on the other glasses in

Horse blinker carved in relief with a seated sphinx, Neo-Assyrian, ca. 8th century B.C., Mesopotamia, Nimrud (ancient Kalhu), Assyrian, Ivory, 4.13 x 7.32 in. (10.49 x 18.59 cm), Ivory/Bone-Equestrian-Inscribed, The craftsmen who carved

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), 「富嶽三十六景　神奈川沖浪裏」, Edo period (1615–1868), ca. 1830–32,

Tureen and stand, 1769–71, German, Augsburg, Silver, silver gilt, Tureen Overall (confirmed): 10 3/4 x 18 x 8 3/8 in. (27.3 x 45.7 x 21.3 cm); Stand Overall (confirmed): 21 x 12 5/8 in. (53.3 x 32.1 cm); Overall weight (non-confirmed): 8.5

The Art of Conversation, Edo period (1615–1868), Japan, Polychrome woodblock print; ink and color on paper, H. 7 5/16 in. (18.6 cm); W. 10 3/16 in. (25.9 cm), Prints, Suzuki Harunobu (Japanese, 1725–1770

Altarpiece dedicated to the Buddha Maitreya (Mile fo), 彌勒佛, late Northern Wei (386–534)–Eastern Wei (534–550) dynasty, ca. 525–35, China, Gilt bronze; probably piece-mold and lost-wax cast, H. 23 1/4 in. (59.1 cm); W. 15 in. (38.1

Terracotta guttus (flask with handle and spout), Classical, 4th century B.C., Greek, South Italian, Campanian, Terracotta; black-glaze, 2 7/8in. (7.3cm), Vases, In Greek art, a lion's head is the typical form of spout, whether for the

Folding card table (table de jeu brisée en angle), Attributed to Bernard II van Risenburgh (ca. 1696–ca. 1767), ca. 1755–65, French, Paris, Oak veneered with tulipwood, purplewood, kingwood, satiné wood, walnut; gilt bronze; modern

Spring, ca. 1873–85, American, Leaded and stained glass, 52 5/8 × 30 in. (133.7 × 76.2 cm), Glass, Daniel Cottier & Company, The Aesthetic movement witnessed a revival of stained glass, primarily in the languid figural style associated

Box with lid, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), 3 1/4 x 6 1/4 x 5 1/2 in. (8.3 x 15.9 x 14 cm), Lacquer, This covered box, part of a wedding trousseau, comprised of thirty-one pieces,

Box with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), H. 7 5/8 in. (19.4 cm); W. 8 1/2 in. (21.6 cm); D. 11 in. (27.9 cm), Lacquer, This covered box, part of

Terracotta calyx-krater (mixing bowl), Classical, ca. 430–400 B.C., Greek, South Italian, Lucanian, Terracotta; red-figure, H. 15 1/16 in. (38.3 cm); diameter of mouth 14 9/16 in. (37 cm), Vases, Obverse, four warriors fighting, Reverse,

Chinese Scholar Contemplating a Waterfall, Edo period (1615–1868), Japan, Two-panel folding screen; ink and gold paint on paper, Image: 61 3/4 x 68 3/8 in. (156.8 x 173.7 cm), Screens, Soga Shōhaku (Japanese, 1730–1781), This mountain

Panel with Birds, Griffins, and Animals, 11th–12th century, Attributed to Egypt, Wood; carved, L. 35 1/2 in. (90.1 cm), Wood, Later Fatimid art is characterized by the increased use of relatively naturalistic human and animal motifs. The

Box with cover, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), 3 1/8 x 9 3/4 x 7 1/8 in. (7.9 x 24.8 x 18.1 cm), Lacquer, This covered box, part of a wedding trousseau, comprised of thirty-one pieces,

Inundated Ruins of a Monastery, ca. 1824, Pen and black ink, watercolor washes, sgrafitto, Sheet: 10 1/4 x 13 1/8 in. (26 x 33.3 cm), Drawings, Karl Blechen (German, Cottbus 1798–1840 Berlin), With Caspar David Friedrich and Johan

An Overgrown Mineshaft, ca. 1824, Oil on paper, laid down on cardboard, 11 1/4 x 8 1/4 in. (28.6 x 21 cm), Paintings, Carl Gustav Carus (German, Leipzig 1789–1869 Dresden), Carus was a leading painter of German Romanticism, second in

松竹梅家紋散し蒔絵文箱, Letter Box with Pine, Bamboo, Plum Blossom, and Family Crests, Edo period (1615–1868), 19th century, Japan, Lacquered wood with gold and silver hiramaki-e, cut-out gold foil on nashiji ground (part of a

Vase, 1906, Made in Clifton, New Jersey, United States, American, Earthenware, H. 5 5/8 in. (14.3 cm); Diam. 3 1/2 in. (8.9 cm), Ceramics, Clifton Art Pottery (1905–11

Under the Wave off Kanagawa (Kanagawa oki nami ura), or The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), 「富嶽三十六景　神奈川沖浪裏」, Edo period (1615–1868), ca. 1830–32, Japan,

Pendant: addorsed lotus blossoms/ thunderbolt?, Classical, 5th century B.C., Italic, Amber, Other: 2 1/16 in. (5.2 cm), Miscellaneous-Amber, Amber-working was a highly developed art in ancient Italy. The special qualities of the material must

Bodhisattva, Tang dynasty (618–907), late 7th–early 8th century, China, Sandstone with traces of pigment, H. 13 1/2 in. (34.3 cm); W. 13 1/2 in. (34.3 cm), Sculpture, His lively posture and the grain, or 'ear of corn, ' in the

Terracotta oinochoe (jug), Archaic, early 5th century B.C., Greek, Attic, Terracotta; black-figure, H. 3 13/16 in. (9.7 cm.), Vases, The representation of Herakles fighting the Nemean lion is the most common depiction in Archaic Greek art of

Traité du Jardinage selon les Raisons de la Nature et de l'Art, 1638, Engraving and woodcut, Overall: 16 15/16 x 11 7/16 x 1 1/2 in. (43 x 29 x 3.8 cm), Books, Possibly by Michel van Lochom (Flemish, Antwerp 1601–1647 Paris), Jacques

Investiture of a Daoist Deity, Ming dynasty (1368–1644), inscription dated 1641, China, Handscroll; ink color, and gold on silk, Image: 19 in. × 30 ft. 3/4 in. (48.3 × 916.3 cm), Paintings, Unidentified Artist, This painting, an

Peter Force, ca. 1858, Salted paper print from glass negative, Image: 34.4 × 27.2 cm (13 9/16 × 10 11/16 in.), Photographs, Mathew B. Brady (American, born Ireland, 1823?–1896 New York), Early on, Brady set himself the task of

T'Magazin oft Pac-huys der Loffelÿcker Penn-const (The Store Room or Ware House of the Praiseworthy Art of the Pen), 1616, plates: etching, woodcut, 9 5/8 × 14 3/4 × 13/16 in. (24.5 × 37.5 × 2.1 cm

Tray with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), H. 2 3/4 in. (7 cm); W. 8 1/4 in. (21 cm), Lacquer, This tray, part of a wedding trousseau, comprised

Bearded Man with a Velvet Cap, 1645, Oil on wood, 23 3/4 x 20 5/8 in. (60.3 x 52.4 cm), Paintings, Govert Flinck (Dutch, Cleve 1615–1660 Amsterdam), Surely a live model served for this dashing character in romantic costume and a brilliantly

Bowl with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), H. 5 3/8 in. (13.7 cm); W. 12 1/2 in. (31.8 cm), Lacquer, This bowl, part of a wedding trousseau,

Terracotta statuette of woman with bird face, Late Cypriot II, ca. 1450–1200 B.C., Cypriot, Terracotta; hand-made, H. 8 3/16 in. (20.80 cm), Terracottas, This figurine is typical of Cypriot coroplastic art of the Late Cypriot II and III

Mountainous Landscape with a Rock, Trees, and Buildings, ca. 1520, Pen and brown ink, 6 7/8 x 5 13/16 in. (17.5 x 14.7 cm), Drawings, Domenico Campagnola (Italian, Venice (?) 1500–1564 Padua), Domenico Campagnola, the adopted son of the

Box with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), Overall: 17 3/8in. (44.1cm), Lacquer, This covered box, part of a wedding trousseau, comprised of

Two Camels Fighting, late 16th–early 17th century, Attributed to Iran, Ink, watercolor, and gold on paper, Painting: H. 4 1/8 in. (10.5 cm), Codices, The depiction of two camels fighting has a long history in Iranian art, stretching back

江戸仕入大津土産, Young Woman with an Otsue Demon Dressed as an Itinerant Priest, Edo period (1615–1868), ca. 1804, Japan, Polychrome woodblock print; ink and color on paper, 14 1/2 x 9 1/2 in. (36.8 x 24.1 cm), Prints, Kitagawa

Box with lid, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), 6 1/2 x 6 x 5 in. (16.5 x 15.2 x 12.7 cm), Lacquer, This covered box, part of a wedding trousseau, comprised of thirty-one pieces, represents

The Mourning of Pallas, ca0–93, Pen and brown ink, brush and gray and brown wash, heightened with white, 8 7/16 x 6 1/2 in. (21.5 x 16.5 cm), Drawings, Anne Louis Girodet-Trioson (French, Montargis 1767–1824 Paris), Pierre Didot

Bronze statuette of a youth dancing, Hellenistic, late 4th century B.C., Greek, Bronze, 7 15/16in. (20.1cm), Bronzes, This beautiful bronze captures a moment when the full achievement of Classical art began to be used for the representation of

Woman Admiring Plum Blossoms at Night, Edo period (1615–1868), Japan, Polychrome woodblock print with embossing (karazuri); ink and color on paper, Image: 12 3/4 x 8 1/4 in. (32.4 x 21 cm), Prints, Suzuki Harunobu (Japanese, 1725–1770),

Box with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), H. 2 1/8 in. (5.4 cm); W. 2 1/4 in. (5.7 cm), Lacquer, This covered box, part of a wedding trousseau,

Kamadeva, the God of Love, second half of the 8th century, India (Jammu and Kashmir, ancient kingdom of Kashmir), Stone, H. 14 5/8 in. (37.2 cm); W. 2 3/8 in. (6 cm); D. 11 5/8 in. (29.5 cm), Sculpture, Though rarely represented in Kashmiri

Pair of seated figures with globes, ca. 1735, French, Chantilly, Soft-paste porcelain painted with colored enamels over tin glaze; gilt bronze, Height: 6 1/2 in. (16.5 cm), Ceramics-Porcelain, In the seventeenth and eighteenth centuries,

The Crucifixion, ca. 1400, Oil, egg(?), and gold on plywood, transferred from wood, 23 1/2 x 17 in. (59.7 x 43.2 cm), Paintings, Master of the Berswordt Altar (German, Westphalian, active ca. 1400–35), These panels were among thirty

Statue of two men and a boy that served as a domestic icon, New Kingdom, Amarna Period, Dynasty 18, ca. 1353–1336 B.C., From Egypt; Probably from Southern Upper Egypt, Gebelein (Krokodilopolis); Probably originally from Middle Egypt, Amarna

Black jasper intaglio portrait of a Roman lady, Early Imperial, Julio-Claudian, 1st half of 1st century A.D., Roman, Jasper, black, Overall: 1 1/16 x 1 1/16 x 1/8in. (2.7 x 2.7 x 0.3cm), Gems, The art of gem cutting was highly prized in

Falls of Terni, ca. 1860, Albumen silver print from glass negative, Image: 27.6 x 37.7 cm (10 7/8 x 14 13/16 in.), oval, Photographs, Robert Macpherson (British, Tayside, Scotland 1811–1872 Rome), Macpherson left Scotland in the early

One of a Pair of Boxes in the Shape of Ducks, Qing dynasty (1644–1911), Qianlong period (1736–95), 18th century, China, Wood with mother-of-pearl, ivory, and glass, H. 2 3/4 in. (7 cm); W. 2 in. (5.1 cm); D. 4 1/2 in. (11.4 cm), Shell,

View of the Villa Medici, after 1677, Etching, Plate: 9 1/8 × 16 7/8 in. (23.2 × 42.8 cm), Prints, Giovanni Battista Falda (Italian, Valduggia 1643–1678 Rome), Seventeenth-century printmakers responded to the interest in ancient art and

松竹桜家紋蒔絵櫛台, Cosmetic Stand with Pine, Bamboo, and Cherry Blossom from a Wedding Set, Edo period (1615–1868), early 19th century, Japan, Lacquered wood with gold, silver takamaki-e, hiramaki-e, cut-out gold foil on nashiji

Openwork furniture plaque with a striding, ram-headed sphinx, Neo-Assyrian, ca. 9th–8th century B.C., Mesopotamia, Nimrud (ancient Kalhu), Assyrian, Ivory, H. 3 1/16 x W. 3 1/8 x D. 5/16 in. (7.8 x 8 x 0.8 cm), Ivory/Bone-Reliefs, A

Covered Bowl with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), H. 3 3/8 in. (8.6 cm); W. 5 5/8 in. (14.3 cm), Lacquer, This covered bowl, part of a wedding

Terracotta alabastron (perfume vase), Early Corinthian, ca. 620–590 B.C., Greek, Corinthian, Terracotta, H. 5 5/16 in. (13.5 cm), Vases, Pantherbird, Composite creatures figure prominently in Archaic Greek art. Some, such as sphinxes,

Stencil with Pattern of Pinks, Edo period (1615–1868), 19th century, Japan, Paper and silk, 21 3/4 x 16 in. (55.2 x 40.6 cm), Stencils, This stencil is an excellent example of the textile designer's art, with its masterful play of light and

Versailles - Cour du Parc, 1902, Albumen silver print from glass negative, Image: 21.5 × 17.5 cm (8 7/16 × 6 7/8 in.), Photographs, Eugène Atget (French, Libourne 1857–1927 Paris), Although he studied drama in Paris in the mid-1870s and

Fragmentary limestone Cypriot capital, Classical, 5th century B.C., Cypriot, Limestone, Overall: 26 1/2 x 36 in. (67.3 x 91.4 cm), Stone Sculpture, This capital, with carved decoration on only one side, is of a type known only on Cyprus.

Jain Siddha Bahubali, Entwined with Forest Vines, Chalukyan period, late 6th–7th century, India (Karnataka), Copper alloy, H. 4 3/8 in. (11.1 cm), Sculpture, The earliest known representation of the subject in Jain art, that of Bahubali,

Dish with Figure, Edo period (1615–1868), ca. 1620, Japan, Porcelain with underglaze blue (Hizen ware, early Imari type), H. 1 1/8 in. (3 cm); Diam. 6 in. (15.2 cm), Ceramics, A lone figure is loosely drawn in cobalt blue on the blank white

Marble head of a youth, Late Archaic or Early Classical, ca. 490 B.C., Greek, Marble, H. 9 3/4 in. (24.8 cm); diameter 5 1/4 in. (13.3 cm), Stone Sculpture, The simplified forms, full jaw and thick eyelids mark this as a transitional work

Terracotta vase in the form of a pygmy carrying a dead crane, Hellenistic, 3rd century B.C., Greek, South Italian, Terracotta, H. 3 1/4 in. (8.3 cm), Vases, Mythic battles between pygmies and cranes are amusing subjects in Greek art with a

Paying the Hostess, ca. 1670, Oil on canvas, 37 1/4 x 43 3/4 in. (94.6 x 111.1 cm), Paintings, Pieter de Hooch (Dutch, Rotterdam 1629–1684 Amsterdam), The subject of a disputed reckoning is not common in Dutch art, but is found in one of De

French Machinery, 1855, Salted paper print from glass negative, 22.0 x 28.7 cm (8 11/16 x 11 5/16 in.), Photographs, Charles Thurston Thompson (British, Peckham 1816–1868 Paris), This celebration of progress--iron and glass architecture and

Wall painting from Room H of the Villa of P. Fannius Synistor at Boscoreale, Late Republican, ca. 50–40 B.C., Roman, Fresco, Overall: 69 x 76in. (175.3 x 193cm), Miscellaneous-Paintings, Man and woman seated side by side: from the grand

Qur'an Bookbinding Inset with Turquoise, 16th century, Made in Iran, Leather; stamped, painted, gilded, and inset with turquoise, H. 14 in. (35.6 cm), Codices, The stamped and gilded techniques used for this leather binding were common in

Don Quixote in His Study, 1857, Albumen silver print from glass negative, Image: 31.9 x 28 cm (12 9/16 x 11 in.), Photographs, William Frederick Lake Price (British, London 1810–1896 Lee, Kent), This carefully staged tableau was among the

Prisoner Jar, 2nd–7th century, Peru, Moche, Ceramic, H. 10-3/4 in. (27.3 cm), Ceramics-Containers, Prisoners are often represented naked in Moche art. In painted scenes, they are stripped of their clothes and other power attributes such as

Bronze satyr, Classical, late 5th–4th century B.C., Greek, Bronze, H. 2 7/16 in. (6.2 cm), Bronzes, Satyrs and maenads, the male and female followers of the god of wine, Dionysos, occur so frequently in classical vase-painting that their

Vase, ca. 1892, Made in Trenton, New Jersey, United States, American, Porcelain, H. 7 1/2 in. (19.1 cm), Ceramics, Walter Scott Lenox left Willets in 1889 to found the Ceramic Art Company, later Lenox China. Production of art porcelain was

Terracotta lekythos in the form of a flying Eros, Late Classical, 2nd half of the 4th century B.C., Greek, Attic, Terracotta, 8 3/4in. (22.2cm), Vases, The figure holds an incense burner. Although vases in figural form were known in Greek art

Bowl with with Design of Pine, Bamboo, and Cherry Blossom, Edo period (1615–1868), 19th century, Japan, Sprinkled gold on lacquer (maki-e), H. 3 3/8 in. (8.6 cm); W. 6 1/4 in. (15.9 cm), Lacquer, This bowl, part of a wedding trousseau,

Distribution of the American Art Union Prizes, at the Tabernacle, Broadway, December 24, 1847, 1847, Lithograph with tint stone, image: 15 3/4 x 21 5/8 in. (40 x 54.9 cm), Prints, Davignon (American, 19th century), After Tompkins Harrison

The Art Connoisseurs, 1823–28, Lithograph with hand-coloring, Sheet: 12 3/8 x 10 1/16 in. (31.4 x 25.5 cm), Prints, Louis Léopold Boilly (French, La Bassée 1761–1845 Paris), With great intensity, brows furrowed and mouths open, a

Head of a young man in profile, from 'Various portraits' (Recueil de Diverses Piéces Servant à l'Art de Portraiture), ca. 1647, Etching, Plate: 3 3/8 × 2 9/16 in. (8.5 × 6.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence

St. Jerome Reading in an Italian Landscape, ca. 1653, Etching, drypoint, and engraving on oatmeal paper; second state of two, plate: 10 3/16 x 8 1/4 in. (25.9 x 21 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669

Seated River God, Nymph with an Oar, and Putto, 1696–1770, Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk, 9 5/16 x 12 5/16in. (23.7 x 31.3cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

The Triumph of Modern Art, 18th century, Etching, sheet: 7 13/16 x 13 3/4 in. (19.9 x 34.9 cm), Prints, Attributed to Jean Barbault (French, Viarmes 1718–1762 Rome), Attributed to Louis Jean Desprez (French, Auxerre 1743–1804 Stockholm

Joseph Henry of Straffan, Co. Kildare, 1744–51, Pen and brown ink, over traces of black chalk, 12 5/16 x 8 3/8in. (31.2 x 21.3cm), Drawings, Pier Leone Ghezzi (Italian, Comunanza near Ascoli Piceno 1674–1755 Rome), After inheriting a

Artémise, ca. 1639–40, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 x 8 3/8 in. (35.5 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676

Artémise, 1647, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 5/16 x 8 3/8 in. (33.8 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676 Paris),

Design for Art Nouveau Loveseat with Caning, 19th century, Watercolor over graphite with touches of gouache, framing lines in graphite, sheet: 12 5/8 x 16 7/16 in. (32 x 41.7 cm), Anonymous, French, 19th century

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