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Hillside with Pine Trees, Water, c. 1630, Cheng Jiasui, Chinese, 1565 - 1643, 8 x 9 3/4 in. (20.32 x 24.77 cm)10 1/2 x 13 1/8 in. (26.67 x 33.34 cm) (mount), Ink on paper, China, 17th century, The Suzhou poet and painter Cheng Jiasui

Female Figure, early 20th century, 25 7/8 x 8 9/16 x 9 9/16 in. (65.7 x 21.8 x 24.3 cm), Terracotta, Nigeria, 20th century, In northeastern Nigeria a mosaic of ethnic groups produce ceramic art, and it is not always possible to attribute a

Dionysian Frieze, c. 1787-1790, Jean-Guillaume Moitte, French, 1746 - 1810, 7 3/8 x 32 1/4 in. (18.73 x 81.92 cm) (sheet)16 7/8 x 41 1/2 x 1 7/8 in. (42.86 x 105.41 x 4.76 cm) (outer frame), Graphite, pen and brush with black ink, green and

A Story of Crickets, second half 17th century, Attributed to Sumiyoshi Jokei, Japanese, 1599 - 1670, 12 1/4 x 169 in. (31.12 x 429.26 cm), Ink and color on paper, Japan, 17th century, One of the great Japanese contributions to pictorial art

Equestrian figure, about 1450, 28 1/4 x 6 3/4 x 10 1/4 in. (71.8 x 17.1 x 26cm) (overall)3 x 6 x 7 1/2 in. (7.6 x 15.2 x 19.1cm) (base), Wood, Mali, 15th century, Real or fake' That question has dogged this unique wooden horse rider since it

Album folio of poetry, c. 1725, 16 x 11 1/4 in. (40.64 x 28.58 cm), Opaque watercolor and gold on paper, India, 18th century, Album pages combining fine calligraphy with borders richly illuminated with floral and animal motifs were a favorite

Phoenix, 2nd-1st century BCE, 2 3/4 x 3 9/16 x 2 7/8 in. (7 x 9.1 x 7.3 cm), Gilt bronze, China, 2nd-1st century BCE, The mythical bird called the phoenix (ch'u-niao) evolved during the late Bronze Age and became a prominent art motif by the

Malagan Figure, c. 1890, Unknown, 78 x 13 1/2 x 12 in. (198.12 x 34.29 x 30.48 cm), Wood, pigment, shell, Papua New Guinea, 19th century, This large figure holds an instrument called katoviso, which comprises a group of bamboo pipes that

Protecting the Cornfields from Vermin, 1849-1855, Seth Eastman, American, 1808–1875, 7 × 9 1/2 in. (17.78 × 24.13 cm) (image)9 3/8 × 12 1/4 in. (23.81 × 31.12 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain Seth

Medicine Man Curing a Patient, 1850, Seth Eastman, American, 1808–1875, 7 7/8 × 6 3/4 in. (20 × 17.15 cm) (image)7 3/4 × 6 11/16 in. (19.69 × 16.99 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain Seth Eastman

Menstrual Lodge, 1849-1855, Seth Eastman, American, 1808–1875, 6 7/8 × 9 7/8 in. (17.46 × 25.08 cm) (image)9 1/2 × 12 7/16 in. (24.13 × 31.59 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain Seth Eastman was a

Indian Courting, 1849-1855, Seth Eastman, American, 1808–1875, 6 1/4 × 5 1/8 in. (15.88 × 13.02 cm) (image)12 15/16 × 9 3/4 in. (32.86 × 24.77 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain Seth Eastman was a

Sounding Wind, The Chippewa Brave, 1849-1855, Seth Eastman, American, 1808–1875, 7 3/8 × 9 9/16 in. (18.73 × 24.29 cm) (image)12 3/4 × 9 5/8 in. (32.39 × 24.45 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain

Indian Burial Ground, 1849-1855, Seth Eastman, American, 1808–1875, 5 5/8 × 9 in. (14.29 × 22.86 cm) (image)9 9/16 × 12 13/16 in. (24.29 × 32.54 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain Seth Eastman was a

Marriage Custom of the Indians, 1849-1855, Seth Eastman, American, 1808–1875, 5 1/2 × 8 1/4 in. (13.97 × 20.96 cm) (image)9 5/8 × 12 13/16 in. (24.45 × 32.54 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain Seth

Indian Medas Secretly Showing the Contents of their Medicine Sacks to Each Other, 1849-1855, Seth Eastman, American, 1808–1875, 6 × 8 1/2 in. (15.24 × 21.59 cm) (image)9 5/8 × 12 7/8 in. (24.45 × 32.7 cm) (sheet), Watercolor, United

Dacotah Written Music, 1849-1855, Seth Eastman, American, 1808–1875, 9 7/8 × 13 in. (25.08 × 33.02 cm) (sheet), Pen and ink, United States, 19th century, U.S. Army Captain Seth Eastman was a trained artist who served twice on the

The Death Whoop, 1849-1855, Seth Eastman, American, 1808–1875, 8 × 6 9/16 in. (20.32 × 16.67 cm) (image)12 5/8 × 9 5/8 in. (32.07 × 24.45 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain Seth Eastman was a

In the Valromey Valley, near the Rhône River, 1868, Adolphe Appian, French, Lyon 1818–Lyon 1898, 27 1/8 x 50 3/4 in. (68.9 x 128.91 cm) (image)41 1/8 x 64 15/16 x 1 in. (104.46 x 164.94 x 2.54 cm) (outer frame), Charcoal, black and white

Floriform vase, c. 1890, Louis Comfort Tiffany; Manufacturer: Tiffany & Co., American, 1848–1933, 19 x 5 3/4 x 5 3/4 in. (48.26 x 14.61 x 14.61 cm), Blown iridescent glass, United States, 19th century, In 1894, the designer Louis Comfort

Carved Yingqing Bowl, 960-1280, 2 15/16 x 8 1/8 x 8 1/8 in. (7.46 x 20.64 x 20.64 cm), Qingbai ware, Hutian kilns Porcelain with carved motif of boys and flowers under a light blue glaze, China, 10th-13th century, The interior of this thinly

Mantel clock, c. 1884, J. & J.G. Low Patent Art Tile Works; Manufacturer: New Haven Clock Company (works), Chelsea, Massachussets, 1877-1907, 12 1/16 x 9 3/4 x 5 7/8 in. (30.64 x 24.77 x 14.92 cm), Brass, glazed earthenware, United States,

We-har-ka, 1849-1855, Seth Eastman, American, 1808–1875, 6 1/2 × 5 in. (16.51 × 12.7 cm) (image)12 7/8 × 9 3/4 in. (32.7 × 24.77 cm) (sheet), Watercolor, United States, 19th century, U.S. Army Captain Seth Eastman was a trained artist

Panel, 20th century, 23 x 11 3/4 in. (58.4 x 29.8 cm), Raffia; cut-pile embroidery, Democratic Republic of Congo, 20th century, Finely worked cut-pile embroideries are objects of great prestige in Kuba society. The production of these

Long-stemmed goblet, c. 1900, Friedrich Zitzmann, German (Berlin), German (Berlin), 1840–1906, 12 1/8 x 3 1/4 in. (30.8 x 8.26 cm), Hand-blown glass, Germany, 19th-20th century, Zitzmann's literal interpretation of a tulip in glass is

Panel, 18th century, 85 1/2 x 22 1/4 in. (217.17 x 56.52 cm), Silk; cut and uncut voided velvet, Italy, 18th century, It was the Italians in the 14th and 15th centuries who developed velvet weaving to the level of an art form. Technological

Art Deco Floral Panel, c. 1930, 49 1/2 x 35 1/2 in. (125.73 x 90.17 cm), Cotton and rayon, United States, 20th century

Kalaha Preaches to King Sahr; Mahavira’s Departure with Indra (top); Adoration of a Tirthankara (bottom), c. 1500, 4 3/8 x 10 3/8 in. (11.11 x 26.35 cm), Opaque watercolor and gold on paper, India, 15th-16th century, The Kalpasutra (Book of

Kalaha Preaches to King Sahr / Mahavira’s Departure with Indra / Adoration of a Tirthankara, c. 1500, 4 3/8 x 10 3/8 in. (11.11 x 26.35 cm), Opaque watercolors and gold on paper, India, 15th-16th century, The Kalpasutra (Book of Ritual) is a

Evening bag, c. 1925, Unknown French, 9 x 2 1/2in. (22.9 x 6.4cm), Celluloid, braided cord, France, Art Deco

Vase, c. 1895, Daum Frères, French, Nancy, France, 1878-present, 20 1/16 x 6 in. (50.96 x 15.24 cm), Acid polished, etched, and polished glass, France, 19th century, Similar to Tiffany in America, the Daum Frères firm in France gained

Kapkap, 19th century, Unknown Solomon Islands, 3 5/8 in. (9.21 cm), Clam shell, tortoise shell, Papua New Guinea, 19th century, The brown, lace-like discs attached to the white clam shells of these ornaments are made of tortoiseshell. When

Sea Urchin' double-spouted vessel, 1879-1882, Christopher Dresser; Manufacturer: Linthorpe Art Pottery, Middlesbrough, Yorkshire, England, 1879-1889, Scottish, 1834-1904, 7 x 5 1/2 x 5 3/4in. (17.8 x 14 x 14.6cm), Glazed ceramic, England,

Table lamp, c. 1900, Raoul-Francois Larche, French, 1860–1912, 13 x 7in. (33 x 17.8cm), Gilt bronze, France, Art Nouveau, American dancer Loie Fuller (1863–1928) developed her own modern dance in Paris in the 1890s, becoming famous for

Vase, 1899, Max Laeuger; Maker: Tonwerke, German, 1864–1952, 8 1/2 x 6 1/2in. (21.6 x 16.5cm), Earthenware, Germany, Art Nouveau

Jardinière, c. 1900, Hector Guimard, French, 1867-1942, 8 x 40 x 9in. (20.3 x 101.6 x 22.9cm), Cast iron, France, Art Nouveau

Vase, c. 1900, Carl Frederick Liisberg; Manufacturer: Royal Copenhagen Porcelain Manufactory, Copenhagen, Denmark, Danish, 1860-1909, 9 x 4in. (22.9 x 10.2cm), Porcelain, Netherlands, Art Nouveau, Royal Copenhagen, one of the foremost

Corolla' lamp, c. 1900, Émile Gallé, French, 1846–1904, 18 1/2 x 10in. (47 x 25.4cm), Glass, bronze, France, Art Nouveau

Floriform vase, c. 1900, Louis Comfort Tiffany; Manufacturer: Tiffany Studios, American, 1848–1933, 21 3/4 x 5 1/4in. (55.2 x 13.3cm), Iridescent blown glass, United States, Art Nouveau, Shaped like an Egyptian onion, with an elongated

Mandarin' (Lotus Leaf) lamp, c. 1900-1905, Louis Comfort Tiffany; Maker: Tiffany Studios, American, 1848–1933, 31 1/2 x 24 1/2 x 24 1/2 in. (80.01 x 62.23 x 62.23 cm) (at shade), Leaded glass, bronze, United States, Art Nouveau

Pedestal, 1897, Gustave Serrurier-Bovy, Belgian, 1858–1910, 62 3/4 x 38 3/4 x 31in. (159.4 x 98.4 x 78.7cm), Congolese palissandre, Belgium, Art Nouveau, It’s a plant stand that appears to be a plant itself, sprouting from the floor.

Ewer, c. 1902, Josef Maria Olbrich; Manufacturer: Villeroy & Boch, Audun-le-Tiche, Germany, est. 1748, 11 1/2 x 9 1/2 in. (29.21 x 24.13 cm) (at handles), Glazed earthenware with transfer printed decoration, Germany, Art Nouveau

Gourd vase, c. 1900, Taxile-Maximin Doat; Manufacturer: Sèvres Porcelain Factory, Paris, 1756–present, 7 1/4 x 3 in. (18.42 x 7.62 cm), Porcelain with relief decoration, France, Art Nouveau

Pitcher, c. 1900, Pierre-Adrien Dalpayrat, French, 1844–1901, 16 x 7 x 9 in. (40.64 x 17.78 x 22.86 cm), Stoneware with incised decoration and 'rouge Flambe' glaze, France, Art Nouveau

Grand vase, 1899, Zsolnay Art Pottery, Pécs, Hungary, 15 1/2 x 11 in. (39.37 x 27.94 cm), Earthenware with iridescent metallic-lustre 'eosin' glaze, Hungary, Art Nouveau, In central Europe-Austria-Hungary and what are now the Czech and

Decanter, c. 1900, William B. Durgin; Manufacturer: T.G. Hawkes & Co., American, 1833-1905, 12 5/8 x 6 1/2 x 6in. (32.1 x 16.5 x 15.2cm), Gilt-sterling, crystal, United States, Art Nouveau

Coffee pot from a coffee and tea set, c. 1930, Unknown Italian, 7 x 6 x 6 in. (17.78 x 15.24 x 15.24 cm), Silver, Italy, Art Deco, Italian designs of the interwar years are notable for innovative, unadorned forms, often suggesting a

Teapot from a coffee and tea service, c. 1930, 5 3/4 x 4 1/2 x 4 1/2 in. (14.61 x 11.43 x 11.43 cm), Silver, Italy, Art Deco

Creamer from a coffee and tea service, c. 1930, Unknown Italian, 6 3/4 x 5 1/2 x 5 1/2 in. (17.15 x 13.97 x 13.97 cm), Silver, Italy, Art Deco

Sugar basin from a coffee and tea service, c. 1930, Unknown Italian, 5 x 4 x 4 in. (12.7 x 10.16 x 10.16 cm), Silver, Italy, Art Deco

Punch bowl, c. 1900, Württembergische Metallwaren Fabrik (a.k.a. WMF), Geislingen, Germany, est. 1853, 19 1/4 x 16 1/2 x 11 1/2 in. (48.9 x 41.91 x 29.21 cm), Silverplate, glass, Germany, Art Nouveau, As with Liberty & Co. of London, WMF

Ladle, c. 1900, Württembergische Metallwaren Fabrik (a.k.a. WMF), Geislingen, Germany, est. 1853, 14 7/8 x 4 1/2 in. (37.78 x 11.43 cm), Silverplate, gilt, Germany, Art Nouveau, As with Liberty & Co. of London, WMF engaged an impressive

Pot-pourri casket, c. 1906, John Williams; Maker: Patrick Roche, English, 1877-1942, 5 3/8 x 6 in. (13.65 x 15.24 cm), Silver, England, Art Nouveau

Fish' service plate, c. 1899, Hermann Gradl; Manufacturer: Königlich-Bayerische Porzellan-Manufaktur, German, 1869-1934, 9 1/2 in. (24.13 cm), Porcelain, Germany, Art Nouveau

Buddhist ritual conch shell with a dancing Hevajra, 12th-13th century, Bronze, Cambodia, 12th-13th century, This bronze takes the form of a conch shell, a vessel used in both Buddhist and Hindu rituals. Blown at the beginning of ceremonies,

Vase, c. 1900, Lucien Gaillard, French, 1861-1933, 8 x 3 1/2 x 2 3/4in. (20.3 x 8.9 x 7cm), Patinated bronze, France, Art Nouveau

Sellett, c. 1900, Léon Bénouville, French, 1860-1903, 57 1/4 x 19 x 19in. (145.4 x 48.3 x 48.3cm), Sycamore wood, glass, brass, France, Art Nouveau

Jades for the Scholar’s Table, 18th-19th century, 2 1/2 x 4 1/4 in. (6.35 x 10.8 cm), Nephrite (jade), China, 18th-19th century, Small jade vessels carved like ancient ritual vessels were favorite objects in the scholar's study. The Gui and

Vessel in the shape of a bronze gui, 19th century, 3 × 6 1/4 × 3 1/2 in. (7.62 × 15.88 × 8.89 cm), Nephrite jade, China, 19th century, Small jade vessels carved like ancient ritual vessels were favorite objects in the scholar's study. The

Brush Washer, 16th-17th century, 2 x 10 1/2 in. (5.08 x 26.67 cm), Pale green nephrite with brown markings, China, 16th-17th century, Vessels distinguished by soft, natural forms and high relief carvings are characteristic of the Ming period

Portrait of Pietro Aretino, c. 1541-1560, Enea Vico, Italian, 1523 - 1567, 4 3/4 x 2 7/8 in. (12.07 x 7.3 cm) (plate)6 x 4 in. (15.24 x 10.16 cm) (sheet), Engraving and etching, Italy, 16th century, Italian author Pietro Aretino (1492-1556)

Grave Stele, 5th century BCE, 33 3/4 x 13 5/8 x 4 7/8 in. (85.73 x 34.61 x 12.38 cm), Pentellic marble, Greece, 5th century BCE, This gravestone, or stele, came from a street of tombs known as the Kerameikos, which lies immediately outside

Stone Seals, 18th-19th century, 2 1/4 x 1 3/4 x 1 3/4 in. (5.72 x 4.45 x 4.45 cm), Nephrite (jade) and soapstone, China, 18th-19th century, Used by literati to impress their personal marks on documents and works of art, seals were among the

Ni asi la Distingue (Even so he cannot recognize her), from Los Caprichos, 1799, Francisco José de Goya y Lucientes, Spanish, 1746–1828, 7 3/4 x 5 7/8 in. (19.69 x 14.92 cm) (plate)11 1/4 x 7 13/16 in. (28.58 x 19.84 cm) (sheet), Etching,

Basket, 20th century, 2 x 12 in. (5.08 x 30.48 cm), Plant fibers, United States, 20th century, The art of basket making is passed through generations of Tohono O’odham and Akimel O’othom women. Young women learn by listening and watching

Pear Blossom from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families in

Hibiscus from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families in

Crab-apple Blossom from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families

Day-Lily from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families in

Cassia Blossom from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families in

Cock's-comb from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families in

Wintersweet Blossom from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families

Blossoming plum from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families in

Ink Cake Container, c. 1600, Workshop of Cheng Dayue, Chinese, 1541-1624, 1-1/4 x 6-1/16 x 6-1/16 in. (3.2 x 15.4 x 15.4 cm), Lacquer with incised polychrome decoration, China, 16th-17th century, Anhui and Shexian, in particular, had been

Potpourri bowl, c. 1880, Alec Burns; Manufacturer: Linthorpe Art Pottery, Middlesbrough, Yorkshire, England, 1879-1889, English or Scottish, 6 x 8-1/8 x 8-1/8 in. (15.2 x 20.6 x 20.6 cm), Glazed earthenware, 19th century

Display Cabinet, one of a pair, 18th century, 74-5/16 x 43 x 24-9/16 in. (188.8 x 109.2 x 62.4 cm), Huanghuali hardwood, China, 17th century, There are very few Ming-style cabinets made specifically for the storage and display of art. This

Meiping vase decorated with a dragon in underglaze blue, 1426-1435, 21 1/2 x 11 7/16 in. (54.6 x 29.1 cm), Jingdezhen ware; porcelain with cobalt blue decor under a clear glaze, China, 15th century, Vessels like this Xuande period meiping vase

The Death of the Virgin, 1470-1475, Martin Schongauer, German, c. 1440/53–1491, 10 1/8 x 6 3/4 in. (25.72 x 17.15 cm) (image), Engraving, Germany, 15th century, This complex engraving about the apocryphal story of the Virgin's death was

Embroidered Box, 1662, 11 3/4 x 11 x 8 in. (29.85 x 27.94 x 20.32 cm), Silk, metallic threads, seed pearls, wood, metal; raised-work embroidery, England, 17th century, Needlework has always been an important art form of England. In the 17th

The Empress from Dance of Death (Lyons), 1538, 1523-1526, Hans Holbein the Younger, German, 1497–1543, 2 9/16 x 7 13/16 in. (6.51 x 19.84 cm) (image), Woodcut, Germany, 16th century, Hans Holbein's Dance of Death is the most famous

The Judge from Dance of Death (Lyons), 1538, 1523-1526, Hans Holbein the Younger, German, 1497–1543, 2 5/8 x 1 15/16 in. (6.67 x 4.92 cm) (image), Woodcut, Germany, 16th century, Hans Holbein's Dance of Death is the most famous treatment

The Canon from Dance of Death (Lyons), 1538, 1523-1526, Hans Holbein the Younger, German, 1497–1543, 2 9/16 x 1 7/8 in. (6.51 x 4.76 cm) (image), Woodcut, Germany, 16th century, Hans Holbein's Dance of Death is the most famous treatment

The Countess from Dance of Death (Lyons), 1538, 1523-1526, Hans Holbein the Younger, German, 1497–1543, 2 9/16 x 1 7/8 in. (6.51 x 4.76 cm) (image), Woodcut, Germany, 16th century, Hans Holbein's Dance of Death is the most famous

Ordos Belt Plaque, one of a pair, 3rd-2nd century BCE, 2 15/16 x 4 11/16 x 5/16 in. (7.46 x 11.91 x 0.79 cm), Bronze, China, 3rd-2nd century BCE, These two mirror-image plaques cast in shallow relief show a feline and an eagle with griffin

Tile with floral decoration, one of a pair, Doulton Art Pottery, English, Staffordshire, England, 1871-1901, 6-1/16 x 6-1/16 x 3/8 in. (15.4 x 15.4 x 1 cm), Glazed ceramic

A King Pursued by a Unicorn, c. 1555, Jean Duvet, French, 1485 - 1570, 9 3/16 x 15 5/16 in. (23.34 x 38.89 cm) (image), Engraving, France, 16th century, The myth of the unicorn likely grew out of ancient sightings of the Indian rhinoceros,

Brush and Cover, c. 1600, 8 7/16 x 5/8 in. (21.43 x 1.59 cm), Carved red lacquer (ti-hung) on wood and animal fur, China, 16th-17th century, Certain Neolithic pottery of the Yang-shao culture (3rd millennium BCE) shows evidence of being painted

Etruscan table, 1872, Alexander Eugène Prignot; Maker: Jackson & Graham, French, 1822-?, 28 5/8 x 51 1/4 in. (72.71 x 130.18 cm), Olive wood, green and black ebony, ivory, brass mounts, England, 19th century, Beginning with London's

Misi gwa so'o (Chimpanzee Mask), 20th century, 8-7/8 x 6-3/4 x 4-7/16 in. (22.5 x 17.1 x 11.3 cm), Wood, Democratic Republic of the Congo, 20th century, Chimpanzees are rarely featured in African art because their resemblance to humans can be

Saskia with Pearls in Her Hair, 1634, Rembrandt Harmensz. van Rijn, Dutch, 1606–1669, 3 3/8 x 2 5/8 in. (8.6 x 6.6 cm) (plate), Etching and drypoint, The Netherlands, 17th century, Saskia Uylenburgh was the daughter of a wealthy

The Flight into Egypt (altered from Tobias and the Angel by Hercules Segers), 1653, Rembrandt Harmensz. van Rijn; Artist: Altered from a plate by Hercules Seghers, Dutch, 1606–1669, 8 7/16 x 11 in. (21.5 x 28 cm) (sheet), Etching, The

The Artist Drawing from a Model, unfinished plate, c. 1639, Rembrandt Harmensz. van Rijn, Dutch, 1606–1669, 9 1/8 x 7 1/4 in. (23.1 x 18.4 cm) (plate), Etching, The Netherlands, 17th century, The Artist Drawing is clearly more an allegory

Abraham Francen, Art Dealer, 1657, Rembrandt Harmensz. van Rijn, Dutch, 1606–1669, 4 11/16 x 8 1/4 in. (11.9 x 20.9 cm) (plate), Etching, The Netherlands, 17th century

Abraham Francen, 1657, Rembrandt Harmensz. van Rijn, Dutch, 1606–1669, 6 3/16 x 8 3/16 in. (15.72 x 20.8 cm) (plate), Etching and drypoint, The Netherlands, 17th century, By one estimate, 1.5 percent of the Netherlandish population-some

Book of Drawings, c. 1870-1890, Attributed to Ohet-toint, Ka'igwu (Kiowa), Ka'igwu (Kiowa), 1852 - 1934, 8 5/8 x 11 1/4 in. (21.91 x 28.58 cm), Graphite, colored pencil, United States, 19th century, An art form thousands of years old,

Neckrest, 19th century, 4 7/8 x 18 1/8 x 4 3/16 in. (12.38 x 46.04 x 10.64 cm), Wood, Fiji Islands, 19th century, Headrests were used throughout Oceania. Often regarded as status objects, headrests were important because they support the head,

Moses Presenting the Ten Commandments, 1699, Begun by Robert Nanteuil; Engraver: Completed by Gérard Edelinck; Artist: After Philippe de Champaigne; Publisher: Pierre Drevet, French, 1623-1678, 22 1/8 x 16 3/8 in. (56.2 x 41.59 cm) (image),

Hendrik Goltzius, after 1617, Jonas Suyderhoef, Dutch, about 1613 - 1686, 16 1/8 x 19 7/8 in. (40.96 x 50.48 cm) (image), Engraving, The Netherlands, 17th century, Heaped around this likeness of Hendrick Goltzius (1558-1617) are emblems of

View of the Saône and the Château Pierre-Scize (Lyon, France), late 18th century, William Marlow, British, 1740 - 1813, 26 x 31 1/2 in. (66.04 x 80.01 cm) (canvas), Oil on canvas, England, 18th century, Conservation and framing of this

Vessel, late 19th century, 13 1/2 x 10 3/4 x 8 7/16 in. (34.29 x 27.31 x 21.43 cm), Ceramic, Angola or Democratic Republic of Congo, 19th century, Lwena and Chokwe artists were inspired by European objects like chairs and teapots to make new

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