Images at Librifly

Cuneiform tablet: hymn to Marduk, Neo-Babylonian (?), 1st millennium B.C., Mesopotamia, Babylonian (?), Clay, 3 1/2 x 3 7/8 x 1 1/8 in. (9 x 9.8 x 2.9 cm), Clay-Tablets-Inscribed, The god Marduk first became an important god in the early

Fall of the Giants, late 17th–early 18th century, Pen and brown ink, brown wash, heightened with white, on blue paper., sheet: 6 7/16 x 10 13/16 in. (16.4 x 27.5 cm), Drawings, Circle of Bernard Picart (French, Paris 1673–1733 Amsterdam)

Ceiling Design with Center Cut Out, 1854–68, Ink and watercolor, sheet: 9 13/16 x 5 1/4 in. (24.9 x 13.3 cm), Attributed to J. S. Pearse (British, active 1854–68

Half-figure of a Woman, 1605, Black and red chalk on vellum. Lined., sheet: 7 1/4 x 5 11/16 in. (18.4 x 14.5 cm), Drawings, Jacob Matham (Netherlandish, Haarlem 1571–1631 Haarlem

Temple Model, 1400–1521, Mexico, Mesoamerica, Guerrero (?), Balsas River region, Aztec, Ceramic, H. 5 3/4 in. (14.6 cm), Ceramics-Sculpture, Aztec emperors ruled over a vast portion of what is now Central Mexico and parts of Guatemala at

Proposed Monument to John L. Carey of Baltimore, 1852–54, Pen and ink, wash, sheet: 13 1/8 x 7 3/8 in. (33.3 x 18.7 cm), Drawings, Samuel B. Wetherald (American, active mid-19th century

Confederate Method of Destroying Rail Roads at McCloud Mill, Virginia, 1863, Albumen silver print from glass negative, Image: 16.2 × 19.6 cm (6 3/8 × 7 11/16 in.), Photographs, Andrew Joseph Russell (American, 1830–1902), Russell made

Nude Figures for L'Âge d'Or, Château de Dampierre, n.d., Graphite on brownish paper., 4 1/8 x 5 7/8 in. (10.5 x 14.9 cm), Drawings, Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris

Blay. François. 53 ans, né à St Gervais (Rhône). Tailleur. Anarchiste. 4/3/94., 1894, Albumen silver print from glass negative, 10.5 x 7 x 0.5 cm (4 1/8 x 2 3/4 x 3/16 in.) each, Photographs, Alphonse Bertillon (French, 1853–1914), Born

Cushion Cover (Yastik), 17th century, Attributed to Turkey, Silk, linen (?); cut and voided velvet, brocaded, Textile: H. 50 1/2 in. (128.3 cm), Textiles, Rectangular silk velvets, such as this textile, would have been used to cover

Yellow-Green Hexagonal Glass Bottle with a Stylite Saint, mid-5th–7th century, Made in Syria (?), Byzantine, Moulded glass, Overall: 8 9/16 x 2 1/2 x 2 9/16 in. (21.7 x 6.4 x 6.5 cm), Glass-Vessels, The stylite saints depicted on tall glass

Design for a column in Roman order, 1844–76, Graphite, pen and black ink, brush and gray wash, sheet: 19 1/2 x 12 1/2 in. (49.5 x 31.8 cm), Drawings, Maximilian Hardmuth (Austrian, Vienna (?), ca. 1824–1876

Page of Calligraphy from an Anthology of Poetry by Sa`di and Hafiz, late 15th century, Attributed to present-day Afghanistan, Herat, Ink, opaque watercolor, silver, and gold on paper, 11 7/8 x 7 1/2in. (30.2 x 19cm), Codices, This folio,

Drawings and Prints, Book Ornament & Architecture, Livre de Moresques, page 11 (verso), Publisher, Artist, Published by, Previously published by, Hiérosme de Gormont, Cornelis Bos, Francesco di Pellegrino, Netherlandish, Hertogenbosch

Cosimo I de' Medici (1519–1574), Duke of Florence, 1539–40, Italian, Florence, Marble, Overall (confirmed): H. 31 1/2 x W. 30 7/8 x D. 12 in. (80 x 78.4 x 30.5 cm), Sculpture, Baccio Bandinelli (Italian, Gaiole in Chianti 1493–1560

Chatillon. Jean-Baptiste. 31 ans, né à Toiseron des Minard (Cher). Employé de commerce. Note du cabinet. 10/5/82, 1882, Albumen silver print from glass negative, 10.5 x 7 x 0.5 cm (4 1/8 x 2 3/4 x 3/16 in.) each, Photographs, Alphonse

In the Park at Packington, late 18th–early 19th century, Pen and brown ink and brush and brown and gray wash, sheet: 8 3/8 x 11 in. (21.3 x 27.9 cm), Drawings, Heneage Finch, 4th Earl of Aylesford (British, London 1751–1812

Column Statue of a King, ca. 1150–60, Made in Saint-Denis, French, Limestone, Overall: 45 1/2 x 9 x 9 1/2 in. (115.6 x 22.9 x 24.1 cm), Sculpture-Stone, The royal abbey at Saint-Denis housed the shrine of this national saint. It possessed

[Study of Legs], 1861–67, Albumen silver print from glass negative, 11.4 x 13.7 cm (4 1/2 x 5 3/8 in.), Photographs, Pierre-Louis Pierson (French, 1822–1913), The countess enjoyed transgressing the standards of propriety for women of her

Christ and the Adulteress, ca. 1545–50, Oil on beech, 6 1/4 x 8 1/2 in. (15.9 x 21.6 cm), Paintings, Lucas Cranach the Younger and Workshop (German, Wittenberg 1515–1586 Wittenberg), This small picture illustrates the biblical passage in

Christ and the Woman of Samaria, 16th century, Pen and brown ink, brush and wash, 11-3/8 x 7-1/2 in. (28.9 x 19.1 cm), Drawings, Anonymous, Italian, 16th century (Italian, active Central Italy, ca. 1550–1580

Ensemble, 1865–67, French, silk, cotton

Enthroned Virgin, ca. 1490–1500, Austrian, Limewood with gesso, paint and gilding, 31 5/8 x 23 1/4 x 9 1/4 in., 31lb. (80.3 x 59.1 x 23.5 cm, 14061.5g), Sculpture-Wood, Created in northern Austria along the Danube River, this sculpture is

Sprite, ca. 1432, Italian, Florence, Gilt bronze, Overall (confirmed): 24 1/4 × 8 1/8 × 11 3/4 in., 30 lb. (61.6 × 20.6 × 29.8 cm, 13.6 kg), Sculpture-Bronze, Sculptor close to Donatello (Italian, Florence ca. 1386–1466 Florence),

Male figurine, Predynastic, Naqada II, ca. 3650–3300 B.C., From Egypt, Bone, h. 8 x w. 2.8 x d. 2.1 cm (3 1/8 x 1 1/8 x 13/16 in

明中期 剔彩螳螂紋漆盒, Box with Chrysanthemum and Praying Mantis, Ming dynasty (1368–1644), 16th century, China, Carved red and black lacquer, H. 1 1/8 in. (2 cm); Diam. 2 3/4 in. (7 cm), Lacquer

Square Tile, late 13th century, Made in Iran, Kashan, Stonepaste; molded and luster-painted on opaque white glaze under transparent glaze, 11 1/2 x 11 1/4 in. (29.2 x 28.6 cm), Ceramics-Tiles, This stonepaste tile depicts a horse standing

Champagne Glass, 1830–40, Made in United States, American, Blown lead glass, H. 6 5/8 in. (16.8 cm); Diam. 2 9/16 in. (6.5 cm), Glass

Abraham Lincoln, May 20, 1860, Salted paper print from glass negative, Image: 19.9 x 14.5 cm (7 13/16 x 5 11/16 in.), Photographs, William Marsh (American, active Springfield, Illinois, 1850s–1860s), This photograph, made in Springfield,

Angels and Putti, 17th century, Pen and brown ink over traces of black chalk?, highlighted with white gouache on brown paper, 8-15/16 x 7-3/16 in. (22.7 x 18.2 cm), Drawings, Anonymous, Italian, Roman-Bolognese, 17th century

Spear, 18th century, North Indian, Steel, gold, L. 50 1/2 in. (128.3 cm); L. of head 19 in. (48.3 cm); W. 1 1/2 in. (3.8 cm); Wt. 1 lbs. 6.1 oz. (626.5 g), Shafted Weapons, Spears were a versatile tool for royal hunting expeditions, as

Prince Riding Prancing Horse, late 16th century, Attributed to India, Ink, opaque watercolor, and gold on paper, 13 1/2 x 8 5/8in. (34.3 x 21.9cm), Codices

A Glen in Sorrento, mid-19th century, Watercolor over graphite, 14-9/16 x 10-3/4 in. (37 x 27.3 cm), Drawings, Thomas Hartley Cromek (British, London 1809–1873 Wakefield

Cake Stand, 1850–70, Made in Pittsburgh, Pennsylvania, United States, American, Pressed glass, H. 4 1/8 in. (10.5 cm); Diam. 9 3/4 in. (24.8 cm), Glass, Bakewell, Pears and Company (1836–1882

Design for a Frame of a Ceiling, 1800–1900, Pen, 8-7/8 x 11-1/4 in, Anonymous, Italian, 19th century

Drawings and Prints, Books Prints Ornament & Architecture, Modelbuch new, aller Art, Nehens und Stickens (page 8r), Publisher, Binder, Hermann Gülfferich, Riviere & Son(s), 1542–1554, London, Frankfurt am Main, Gülfferich, Hermann,

Kaftan, second half 17th–early 18th century, Attributed to Turkey, Silk, metal wrapped thread; taqueté (seraser), Back piece: H. 54 in. (137.2 cm), Textiles-Costumes, The back of this fragmentary silk robe, or kaftan, features a design of

Drawings and Prints, Books Prints Ornament & Architecture, Pretiosa Gemma delle virtuose donne, page 19 (recto), Author, Publisher, Binder, Isabella Catanea Parasole, Gargano, Hardy-Mennil, Italian, ca. 1565/70–ca. 1625, Venetia,

Toby Jug, 1849–58, Made in Bennington, Vermont, United States, American, Mottled brown earthenware, H. 6 in. (15.2 cm), Ceramics, Lyman, Fenton & Co. (1849–52

The Black Hat, 1921, Lithograph, image: 12 7/8 x 9 in. (32.7 x 22.9 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Fragment of a Frieze with Repeating Phrase, 'Sovereignty is God's', 11th century, Excavated in Iran, Nishapur, Terracotta; carved, painted, H. 28 5/8 in. (72.7 cm), Sculpture, Found at the Tepe Madrasa part of the Nishapur site, this panel

Page from a Scrapbook containing Drawings and Several Prints of Architecture, Interiors, Furniture and Other Objects, Workshop of Charles Percier (French, Paris 1764–1838 Paris), Workshop of Pierre François Léonard Fontaine (French, Pontoise

Lamp, convex top, Greek or Roman, Terracotta, Overall: 1 1/4 x 3 1/8 in. (3.2 cm), Terracottas

Head of an Oba, 16th century, Nigeria, Court of Benin, Edo peoples, Brass, H. 9 1/4 x W. 8 5/8 x D. 9 in. (23.5 x 21.9 x 22.9 cm), Metal-Sculpture, This commemorative cast-brass sculpture depicts the idealized likeness of an oba, or king,

Der Fehlerteufel ('Devil of Mistakes'), 1844, Pen and black ink over graphite, 9 1/4 x 6 1/2 in. (23.5 x 16.5 cm), Drawings, Gustav Bartsch (German, Gleiwitz (Oberschlesien) ca. 1821–after 1870 Dresden-Blasewitz

나전 칠 꽃 무늬 함 조선, 螺鈿漆花文函 朝鮮, Box with floral decoration, Joseon dynasty (1392–1910), 18th century, Korea, Lacquer inlaid with mother-of-pearl and tortoise shell, H. 8 in. (20.3 cm); W. 7 3/4 in. (19.7 cm); L.

Cut-Glass Cup, 8th–9th century, Attributed to Iran, Glass, colorless with a green tinge; blown, cut, H. 2 3/4 in. (7 cm), Glass, Disks with raised dots at the center encircle the body of this small spherical cup. Echoing the omphalos (navel

Fragment of a Band, 6th–7th century, Attributed to Egypt, Linen, wool; tapestry weave, H. 6 1/2 in. (16.5 cm), Textiles

[Stereograph, Crystal Palace, John Bell's Una and the Lion], 1854–1862, Daguerreotype, Image: 6.8 x 5.9 cm (2 11/16 x 2 5/16 in.), each, Photographs, London Stereoscopic Company (British

Ophelia (Shakespeare, Hamlet, Act 4, Scene 7), March 1, 1866, Mezzotint, etching and stipple on chine collé; proof, Image: 20 11/16 in. × 34 in. (52.5 × 86.3 cm), Prints, After Sir John Everett Millais (British, Southampton 1829–1896

A Katydid, a Fly, a Bee, and a Fulgoroid, 17th century (?), Pen and brown ink, gray wash, gouache, and watercolor, sheet: 1 7/8 x 9 3/8 in. (4.7 x 23.8 cm), Drawings, Anonymous, Dutch, 17th century

English Blossoms, 1873, Albumen silver print from glass negative, 32.8 x 27.5 cm. (12 15/16 x 10 13/16 in.), Photographs, Julia Margaret Cameron (British (born India), Calcutta 1815–1879 Kalutara, Ceylon

Glass dish, Late Imperial, 4th century A.D., Roman, Glass; blown, H.: 1 1/8 in. (2.8 cm), Glass, Colorless with slight blue green tinge., Slightly everted, rounded, vertical rim, with solid horizontal rib below; short side to body,

Section from a Qur'an, probably second half 13th century, Made in Iraq or Turkey, Ink, opaque watercolor, and gold on paper; tooled leather binding, Ht. 19 1/2 in. (49.5 cm), Codices, The Qur'an consists of 114 chapters (suras) of uneven

House Post Figure (Amo), ca. 1800, New Zealand, Maori people, Te Arawa, Wood, H. 43 x W. 11 x D. 5 1/8 in. (109.2 x 27.9 x 13 cm), Wood-Architectural, Large communal meeting houses served, and continue to serve, as important focal points

[Plasterer Smoking a Cigar, Trowel in Hand], 1860s–70s, Tintype, Image: 8 x 4.9 cm (3 1/8 x 1 15/16 in.), Photographs, Unknown (American

Wooden Staircase at Chartres, 1852, Salted paper print from paper negative, Mount: 19 13/16 in. × 13 7/8 in. (50.3 × 35.2 cm), Photographs, Henri-Jean-Louis Le Secq (French, Paris 1818–1882 Paris), Henri Le Secq was a learned and

Landscape with Waterfall and a Mother and Child, 1800, Pen, brown and gray ink and graphite, sheet: 7 5/16 x 10 5/16 in. (18.5 x 26.2 cm), Drawings, Johann Peter Beer (German, Frankfurt am Main 1782–1851 Frankfurt am Main

Earring with bull head terminal, Ptolemaic Period, 4th–mid 2nd century BC, From Egypt, Gold, As Worn: H. 1.4 × W. 1.2 cm (9/16 × 1/2 in.), Hoops formed of wound wire with animal head terminals are the commonest type of Hellenistic earring.

Les Secondes Oeuvres, et Subtiles Inventions De Lingerie du Seigneur Federic de Vinciolo Venitien, page 4 (recto), 1603, Woodcut, Overall: 9 7/16 x 6 1/2 in. (24 x 16.5 cm), Designed by Federic de Vinciolo Venitien, published by Jean Le Clerc,

Drawings and Prints, Books, Prints, Ornament & Architecture, La Vera Perfettione del Disegno di varie sorti di recami, page 14 (verso), Illustrator, Publisher, Woodcut of Lucrezia designed by, Giuseppe Salviati (Giuseppe Porta, called Il

Drawings and Prints, Books Prints Ornament & Architecture, Pretiosa Gemma delle virtuose donne, page 3 (recto), Author, Publisher, Binder, Isabella Catanea Parasole, Gargano, Hardy-Mennil, Italian, ca. 1565/70–ca. 1625, Venetia,

'Portrait of Khan Dauran Bahadur Nusrat Jang', Folio from the Shah Jahan Album, verso: ca. 1640; recto: 1530–50, Attributed to India, Ink, opaque watercolor, and gold on paper, H. 15 5/8 in. (38.9 cm), Codices, Painting by Murad, The

Kingfisher, late 19th century, Gray and blue ink and wash, sheet: 11 5/16 x 7 5/8 in. (28.8 x 19.4 cm), Drawings, Attributed to Sir (Edward) Linley Sambourne (British, London 1844–1910 Kensington, London

Warren Station, near Petersburg (graves), 1864, Albumen silver print from glass negative, 14.8 x 20.8 cm (5 13/16 x 8 3/16 in. ), Photographs, Timothy H. O'Sullivan (American, born Ireland, 1840–1882

Dulzian, 17th century, Spain?, possibly Spanish, Tropical hardwood (dark), Height: 35 13/16 in. (91 cm), Aerophone-Reed Vibrated-double reed

Drawings and Prints, Album Print Ornament & Architecture, Diverses Pieces de Serruriers, page 8 (recto), Artist, Artist, After, Hugues Brisville, Jean Berain, Gabriel Ladame, French, born ca. 1633, active Paris 1663, French,

Hatshepsut's Mother, Queen Ahmose, New Kingdom, Dynasty 18, ca. 1479–1458 B.C., Original from Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tempera on paper, Facsimile: H. 42.5 cm (16 3/4 in.); W. 31 cm (12 1/4 in.), Howard Carter (British,

Opera Nova Universali intitulata Corona di racammi, page 7 (verso), [1530], Woodcut, Overall: 8 7/8 x 6 7/8 in. (22.5 x 17.5 cm), Published by Giovanni Andrea (called 'Guadagnino') Vavassore, Italian, active 16th century, Venice. From top to

Redware platter, ca. 1800–1850, Made in Trenton, New Jersey, United States, American, Redware, 12 1/2 × 19 3/4 in. (31.8 × 50.2 cm), Ceramics, Joseph McCully (American, 1757–1820

Design for 'Les Heures d'Après Midi' by Emile Verhaeren, after 1896, Pen and blue, gold and brown ink, brush and blue, green and white washes, over graphite underdrawing., 12 15/16 x 15 7/8 in. (32.8 x 40.3 cm), Drawings, Julia Eyckholt

Bull Run. Bridge near Union Mills (destroyed seven times), ca. 1862, Albumen silver print from glass negative, Photographs, Timothy H. O'Sullivan (American, born Ireland, 1840–1882

Allegory of America, mid-17th–late 17th century, Black chalk, brush, black ink, gray wash. Incised for transfer., 17 5/8 x 11 13/16 in. (44.8 x 30 cm), Drawings, Nicolaes Berchem (Dutch, Haarlem 1621/22–1683 Amsterdam), This drawing

Drawings and Prints, Album Print Ornament & Architecture, Targhe ed altri ornati di varie e capricciose invenzioni (Cartouches and other ornaments of various and capricious invention, page 33), Publisher, Artist, After, Carlo Losi, Jacob

Bird's Eye View of New York and Brooklyn, 1851, Lithograph, image: 22 1/8 x 32 1/2 in. (56.2 x 82.6 cm), Prints, John Bachmann (American (born Germany or Switzerland), active New York 1849–85

[Montage of Ecclesiastical Figures Posed in Political Satire], 1860s, Albumen silver print, Image: 17 x 12.2 cm (6 11/16 x 4 13/16 in.), Photographs, Unknown (British

Drawings and Prints, Album Print Ornament & Architecture, Page from Album of Ornament Prints from the Fund of Martin Engelbrecht, Artist, Publisher, Artist, Franz Xavier Habermann, Jeremias Wachsmuth, Martin Engelbrecht, Carl Pier, German,

The Fortune Teller, 18th century, Pen and black ink, with brush and gray wash, watercolor, and gouache, over black chalk underdrawing, 6 5/8 x 11 in. (16.8 x 27.9 cm), Drawings, François Boucher (French, Paris 1703–1770 Paris

Louis XVI, King of France, 1783, Plate: 8 3/4 × 6 5/16 in. (22.3 × 16 cm), Prints, Anonymous, French, 18th century

Joseph Pennell, 1910–24, Platinum print, Photographs, Frank Eugene (American, New York 1865–1936 Munich

Drawings and Prints, Album Print Ornament & Architecture, Copies after the 'Livre contenant passement de moresques' (plate 17), Artist, After, Jacques Androuet Du Cerceau, French, Paris 1510/12–1585 Annecy, Du Cerceau, Jacques Androuet,

River Landscape with Mountains, 17th century, Black chalk, black, brown and blue wash, sheet: 7 3/16 x 9 1/4 in. (18.2 x 23.5 cm), Drawings, Herman Saftleven II (Dutch, Rotterdam 1609–1685 Utrecht

金剛夜叉図大津絵, Ōtsu-e of Shōmen Kongōyasha (Vajrayaksha), Edo period (1615–1868), 17th century, Japan, Hanging scroll; ink, color, and hand-colored woodblock print on paper, Image: 23 x 9 1/8 in. (58.4 x 23.2 cm), Paintings,

Design for Hanging Shelves, 1840–99, Ink, watercolor and gouache, Anonymous, British, 19th century

An Englishman at Mabille (Un Anglais à Mabille), from Galerie pour Rire, no. 34, 1861, Color lithograph, image: 17 3/8 x 13 3/8 in. (44.1 x 34 cm), Prints, After Gustave Doré (French, Strasbourg 1832–1883 Paris), Joseph Bettannier

The Saw-Setter, 1780–1827, Ink and watercolor, image: 8 1/8 x 6 1/2 in. (20.6 x 16.5 cm), Drawings, Thomas Rowlandson (British, London 1757–1827 London

Bronze disc-type fibula (safety pin), Geometric, 9th–8th century B.C., Italic, Bronze, length 4 5/8in. (11.8cm), Bronzes, Serpentine type fibulae, with their distinctive coiled bows, are found mostly with male burials and are common

Limestone funerary cippus, Imperial, early 3rd century A.D., Roman, Cypriot, Limestone, H. 39 1/2 (100.3 cm); W. 14in. (35.6cm), Cesnola Inscriptions, Funerary monuments of this type were common on Cyprus from the Late Hellenistic through the

Warwick Castle: The East Front, 1752, Pen and brown ink, gray wash, 12 7/16 x 22 1/8 in. (31.6 x 56.2 cm), Drawings, Canaletto (Giovanni Antonio Canal) (Italian, Venice 1697–1768 Venice), Canaletto's highly detailed, topographically

Sketch for Title Page of the Neujahrsblatt vom Musiksaal, Zurich, ca. 1699, Pen and grey ink, brush and grey wash. Two framing lines in pen and grey ink., sheet: 5 9/16 x 4 1/8 in. (14.1 x 10.5 cm), Drawings, Johannes Meyer the Younger (Swiss,

Case (Inrō) with Design of Autumn Flowers, Edo period (1615–1868), early 18th century, Japan, Case: gold, silver, and blue lacquer on black lacquer; Fastener (ojime): pierced gold with floral design; Toggle (netsuke): crystal carved in the

One of a Pair of Parakeets, Qing dynasty (1644–1911), Qianlong period (1736–95), China, Cloisonné enamel, H. 8 3/4 in. (22.2 cm), Cloisonn

Opera Nova Universali intitulata Corona di racammi, page 3 (verso), [1530], Woodcut, Overall: 8 7/8 x 6 7/8 in. (22.5 x 17.5 cm), Published by Giovanni Andrea (called 'Guadagnino') Vavassore, Italian, active 16th century, Venice. From top to

[Man Calming a Young Boy Posing before the Camera], ca. 1850, Daguerreotype, Image: 2 7/8 × 2 3/8 in. (7.3 × 6 cm), Photographs, Unknown (French), The mass appeal of the daguerreotype portrait lay in the medium’s ability to capture and

Bronze portrait bust of a man, Late Imperial, 1st half of the 3rd century A.D., Roman, Bronze, H. 8 3/4 in. (22.2 cm), Bronzes, The man is shown with the beard and short-cropped hair typical of the third century A.D. Likewise, his toga has

Tennis at Newport, 1919, Oil on canvas, 40 x 43 1/4 in. (101.6 x 109.9 cm), Paintings, George Bellows (American, Columbus, Ohio 1882–1925 New York), Renowned for his paintings of clandestine boxing matches, Bellows also depicted

Christ Presented to the People, 1560–99, Pen and gray ink and gray wash, with white heightening, 10.9 x 7.0 in. (27.7 x 17.8 cm), Drawings, Caspar Fraisinger (German, Ochsenhausen near Biberach ca. 1560–1599 Ingolstadt

Footed beaker, first half 17th century, Hungarian, Brassó, Gilded silver, Overall: 5 3/16 x 2 7/8 in. (13.2 x 7.3 cm), Metalwork-Silver, Telling stories populated with mythological creatures—like those engraved on the base of this

業兼本時代不同歌合絵巻断簡　「藤原清忠」, The Poet Fujiwara Kiyotada, from the Narikane Version of the Thirty-six Poetic Immortals, Kamakura period (1185–1333), second half of the 13th century, Japan, Section of a

Scene in Batavia, 1860s–70s, Albumen silver print from glass negative, 20.7 x 24.6 cm (8 1/8 x 9 11/16 in.), Photographs, Unknown