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Shrine head, Yoruba — Shrine head, 12th-14th century
Yoruba

G250

Portrait Of Frank James — Frank, 1969
Chuck Close

Not on View

Carved from pale gray-green stone with cloudy white mottling and black and brown rivering throughout, the mountain landscape with high rising peaks and numerous figures and pavillions amid foliage on both sides, with the seal of the Emperor Qianlong above a long inscription on one side, the reverse with a further inscription and a seal, one seal referring to the eightieth year of the Emperor Qianlong,corresponding to the year 1784. — Jade Mountain Illustrating the Gathering of Scholars at the Lanting Pavilion, 1790
China

G210

Mademoiselle Hortense Valpinçon — Portrait of Mlle. Hortense Valpinçon, c. 1871
Edgar Degas

G351

Interior of the house — Dining Room in the Country, 1913
Pierre Bonnard

G355

woman wearing a white satin gown trimmed with lace and pearls, holding a book, and seated on a yellow sofa; woman wears pearl necklaces and earrings, with her hair decorated with pearls; guitar and music next to woman on sofa; black and white lap dog in LRC — The Comtesse d'Egmont Pignatelli in Spanish Costume, 1763
Alexander Roslin

G307

husband and wife seated on a lotus in the pose of royal ease and intimacy with bull and tiger underfoot; symmetrical architectural backdrop with large central disc behind heads of main figures — Uma-Maheshvara, 10th-11th century
India

G210

Nude female figure lying on a flowered couch — Nude on a Couch, c. 1880
Gustave Caillebotte

G355

Three quarter length self-portrait of Francesco de Mura — Self-Portrait, c. 1740
Francesco de Mura

G307

rigid open coat, with arms extended and hem of coat trailing on floor; exterior of coat made of horizontal rows of overlapping dog tags; interior of coat made of reflective panels; disassembles into four parts--base consists of three parts and upper body section — Some/One, 2005
Do Ho Suh

Not on View

Amida, the Buddha of Infinite Light, Japan — Amida, the Buddha of Infinite Light, 12th century
Japan

G200

Mythological figures in a landscape. A tribute to jazz musician Nina Simone. — Homage to Nina Simone, 1965
Bob Thompson

Not on View

human face with long ears; open mouth with teeth; red linear designs — Mask, c. 900-300 BCE
Olmec

Not on View

head (male) wearing thick collar up to lower lip; openwork caplike headdress with hanging braids and beaded cords around ears; two "beads" on forehead; flower-like beaded elements at temples--one at PR ear, two at PL ear; open circle at top of head — Memorial head, 1550-1650
Edo

G250

Gope board, Papua New Guinea — Gope board, 18th century
Papua New Guinea

Not on View

Golden Bird, Constantin Brancusi — Golden Bird, c. 1919
Constantin Brancusi

Not on View

abstract image in red-orange, blues, yellow, dark red, green; dots of various sizes overall with looped openwork designs with other colors showing through — Untitled, 1967
Kusama Yayoi

G251

man with long white beard and glasses seated at LR, writing, behind a stumpy tree with thick trunk and thin branches on right side only; big cat's face at left looking out from behind tree — Saint Jerome by the Pollard Willow, 1648
Rembrandt Harmensz. van Rijn

Not on View

figure wears a replica of a heavy stone yoke at waist over skirt with fret motif; necklace; bands of bracelets on left arm; headdress broken at right. On the left knee a nead with round headdress in relief. Hole in right shoulder forms hook from which rattle could be suspended. The mould for front of body is well designed but assembled crudely with the mould for back.; Pinkish white pottery — Figure, c. 600-750 CE
Nopiloa (Veracruz)

G260

Venice. Church. San Marco. — The Piazza San Marco, Venice, 1881
Pierre Auguste Renoir

G355

Genre. Cubist. Seated man and woman. — Married Life, 1912
Roger de la Fresnaye

G367

quadruped animal form with four short, stubby legs; rounded body with sloping back; small, stubby tail; rounded head with opening roughly at mouth area; extremely heavy encrustations overall, with deep and heavy crackle throughout; brown, earth-colored, with a darker brown round area on PR side of head and in several areas on front legs and feet — Kono altar, second quarter of 20th century
Bamana

G250

Abstract Painting No. 9, Ad Reinhardt — Abstract Painting No. 9, 1960-1966
Ad Reinhardt

Not on View

Portrait of Dr. Thomas Penrose holding a sketch book, seated on a bank overlooking the Duomo and Palazzo Vecchio, Florence, Italy. — Portrait of Dr. Thomas Penrose, 1798
Louis Gauffier

G306

arched top — Crucifixion with the Virgin, Saint John the Evangelist and a Clerical Donor, c. 1350-1360
Lippo Vanni

G343

Portrait. — Sandy, 1946
Walt Kuhn

Not on View

Portrait. Madame Aubry wears an ultramarine blue velvet dress, cloak lined with flowered brocade and a bodice of silver lamé with lace and rose ribbon. Her hand touches a whippet which may have belonged to the artist as it appears in other portraits. Her hair is styled à la Fontanges. She married into a family from Tours and later became the Marquise de Castelnau in the Berry region near Bourges. — Portrait of Catherine Coustard, Marquise of Castelnau, Wife of Charles-Léonor Aubry with Her Son Léonor, c. 1700
Nicolas de Largillière

G308

Old Testament. After the prophet Samuel anointed David as King Saul's successor, Saul became jealous and plotted David's death. David's loyal friend Jonathan (Saul's son) is preparing to shoot three arrows as a warning to David who is hiding in a field. Jonathan's pose is directly derived from Michelangelo's 'David'. — Jonathan’s Token to David, c. 1868
Frederic Leighton, 1st Baron Leighton of Stretton

G357

A Roman legionary fallen in battle embraced at the moment of death by the genius or spirit of victory. — Kiss of Victory, 1878–1881
Sir Alfred Gilbert

G357

Seated girl. Franzi Fehrmann. German Expressionism. Figure shown nearly full length, filling almost all of the picture space, seated on vivid blue divan dressed in bright red dress with yellow trim and black polka dots on green sleeves. Small nude figure at left a frequent motif in Kirchner's art. Strong color utilized, applied in broad areas with an eye to contrast and balance. Harsh contour lines add a decorative element to the composition. These strong contour lines reveal the influence of the woodcutting technique which Kirchner also practiced to great effect. Composition is simplified and economy of line and form reveal influence of Japanese art and primitive African sculpture. No signature - checked 8-21-96. — Seated Girl (Fränzi Fehrmann), 1910 (altered 1920)
Ernst Ludwig Kirchner

G371

one of a pair — Portrait of Lucas van Voorst, 1628
Paulus Moreelse

G312

House Group, the evening meal; polychrome; terra cotta group representing a two-story house with canopy roof on piles and 11 figures occupied with various household tasks on two levels an upper terace and a lower, enclosed room with a wide doorway; on each of two sides a stairway of five steps leads from the base to the upper level; the surface is decorated in polychrome (red, yellow, black) with geometric designs lozenges interlocked and wavy stripes; the piece is much weathered and has been extensively restored — House Group, c. 100-400
Nayarit

G260

camel standing on diamond-shaped base; head up, tail up and curled; yellow with traces of red and black pigment; single hump — Two camels and a groom (Camel), 618-907
China

G207

Ekine Society Memorial Screen (called 'Duen Fobar'); wood and raffia with traces of pigment Nigeria,Ijo Tribe,late XIXc. Abonnema Village — Funerary screen, late 19th century
Kalabari

G375

Catafalque Flambeau, wrought iron bobèche tray (6-3/8 in.), wooden bobèche with pomegranate seed and leaf carvings (6-½ in.), baroque carved structure skeleton(49-½ in.), iron pole shaft (40-½ in.), wrought iron tripod base (14 in.), triangular marble plinth, overall H.112 in., gessoed polychrome and gilded wood and wrought iron — Funeral torch, c. 1720
Italy

G330

Dionysus on a Donkey, Roman — Dionysus on a Donkey, 2nd century
Roman

G241

The Tiber Muse, 2nd-1st century BCE
Graeco-Roman

G230

standing male nude; represents man awakening to a fuller comprehension of his physical powers — The Age of Bronze, 1876–77 (plaster model); casting date unknown
Auguste Rodin; Caster: Alex Rudier Fondeur

G355

bas-relief; the bronze was cast by Siot-Decauville and bears the number 4 — The Fugitives, modeled c. 1850 (casting date unknown)
Honoré Daumier

G354

Genre scene. The Piazza del Popolo — The Piazza del Popolo, Rome, c. 1660
Johannes Lingelbach

G309

Bacchante and Satyr, Jean-Baptiste Auguste Clésinger — Bacchante and Satyr, 1869
Jean-Baptiste Auguste Clésinger

Not on View

Saint Humphrey (Onuphrius), Salvator Rosa — Saint Humphrey (Onuphrius), c. 1660
Salvator Rosa

G330

landscape with Cornard Church in the distance — The Fallen Tree, probably between 1750 and 1753
Thomas Gainsborough R.A.

G310

Part of a series of 12 paintings by Vouet of angels holding symbols of the Passion; other is 69.36.2 — Angels with Attributes of the Passion: Angel Holding the Vessel and Towel for Washing the Hands of Pontius Pilate, 1627
Simon Vouet

G313

Arched top. The Madonna, in a gold and blue mantle over a red and gold brocade robe, seated on a throne in Renaissance style holding the infant Christ who stands on her knee, an apple in his hand; at the foot of the throne, pinks in a vase, apples, and marrows. — Madonna and Child Enthroned, c. 1490
Nicola di Maestro Antonio (di Ancona)

G343

Interior of a barn. Dutch genre. — Interior of a Barn, 1644
Egbert van der Poel

G312

Judith and head of Holofernes Judith and her maid servant put the head in a sack — Judith with the Head of Holofernes, c. 1635-50
Pietro della Vecchia (Pietro Muttoni)

G330

buildings and bridges with water in foreground; church left of center — Le Pont de Moret, 1888
Alfred Sisley

G355

pale grey stone; standing ram with blocky body; curling horns; stubby, blocky tail — Ram, 1938–1942
William Edmondson

G367

small standing highly stylized figure with very large coffee bean-type eyes; PR lower arm missing; openings at top of head and at bottom; upturned pig-like nostrils; textured body covered with scrolling designs; looping scrolls around stomach/navel and between breasts; small, widely spaced breasts with pronounced nipples; repeating incised zigzags with textured areas on back of head/hair; dark/black patina — Figurine of a Female, 1000-800 BCE
Japan

G205

Romanesque relief-carved stone Calvary group showing Christ on the cross between standing figures of the Virgin Mary on the left and St. John the Evangelist on the right; Christ appears with a perizonium around his waist, his legs buckling to the left and his head raised but with heavy eyelids; Mary's hair is covered by a simple veil which encloses her left elbow and is held in her right hand, looking down, with her left hand raised to her face; Mary's mantle clings to her legs in a series of "damp fold" drapery swirls, and ruffles over her pointed shoes; John holds a book in the crook of his left arm, and with his right hand (fingers now missing) gestures up towards the body of Christ; John's bare feet protrude from under a long garment with a crinkled neckline; just visible above the surviving section of the patibulum of the cross are two small, rounded shapes that most likely formed the tips of a wing, presumably of an angel; five metal pins at top of lower portion for secure installation of heads of John and Mary and torso and head of Christ — Crucifixion, c. 1180
Spain

G340

male figure wearing a robe carved from brown-veined rock, seated on a red and cream stone plinth; head, hands and feet of gilt bronze; curly hair and beard; wearing cap; man holds scroll in PL hand and two keys in PR hand — The Ludovisi Saint Peter, 2nd century (marble body); c. 1590 (gilt bronze head, hands and feet; throne)
Attributed to Bastiano Torrigiani (head, hands and feet)

G340

boxing match with two figures in ring with official behind them; figures around elevated boxing ring gesturing and talking — A Stag at Sharkey's, 1917
George Bellows

Not on View

Birds-eye view of Venice created with six joined pieces of paper; linen mat with gold edged frame — View of Venice, 1500
Jacopo de' Barbari; Publisher: Anton Kolb

Not on View

standing blonde little girl with green eyes, wearing a pink dress with white polka dots, pink hair ribbon, white socks with pink trim, and red shoes, and holds a purple flower in her PR hand; girl has blank facial expression; girl stands in front of a wall mural with a blue and yellow dragon against a red ground with glitter highlights against a red ground with bold black Chinese characters; shiny black floor — Portrait of a Girl, 1971
Joan Brown

G280

The Fighter of the Spirit, 1928
Ernst Barlach

Exterior Grounds

The Miracle of the Madonna of the Fire, Aureliano Milani — The Miracle of the Madonna of the Fire, c. 1725
Aureliano Milani

G330

Portrait of Anna Blocken, Aelbert Cuyp — Portrait of Anna Blocken, 1649
Aelbert Cuyp

G312

bust of young man with medium-length curly hair; man wears draping garment with low neckline with knot on PR shoulder; bare PR arm; mottled patina — Saint John the Baptist, c. 1505
Benedetto da Rovezzano

G340

after Polykleitos, Roman copy of Greek original, the original executed in bronze, c.440 BCE; one of four known extant copies — The Doryphoros, 120–50 BCE
Italy

G230

Blue-and-White dish, porcelain; decorated in a deep blue in the center with a large peahen flying amongst peonies, the cavetto molded with a band of peonies in white in a blue ground, the rim with a border of stylized waves and a molded foliated edge; the reverse has a typical wide unglazed base with a short foot ring and the exterior is decorated with a band of scrolling lotus — Dish, 14th century
China

G325

Genre. Unsigned. — The Birthday Party, 1885
John Singer Sargent

G351

white cottage with slanted roof at L; trees behind - tallest with turning leaves; woman on path with a pony; figures at R by haystack — Caretaker's Cottage in the Forest of Compiegne, 1826
Paul Huet

G321

two goat herders seated on the left bank of a river amidst their flock; classical ruins at left side and background left center on hillside; across river stand two pair of deer under the shadow of a large tree — Pastoral Landscape, 1638
Claude Gellée (called Le Lorrain)

G313

Harbor. Pointillism. — Blessing of the Tuna Fleet at Groix, 1923
Paul Signac

G351

Tazza, ceramic, Italian, majolica, cavetto and broad marli molded in relief, depicting the Lion of St. Mark and a conventional leaf design, in the brilliant blue, yellow-gold, and ruby lustre of Gubbio, XVI c. cat. card dims Diam. 10'; ruby lustred — Plate with lion of St. Mark, c. 1525
Italy

G332

mosaic, oblong representing birds surrounded by foliage and pomegranates in multicolors; known to have come from the floor of an early christian church near Antioch — Birds with Foliage, late 4th-mid 5th century
Turkey

G240

mosaic representing a scene of an elephant attacking a feline, in multicolors.; known to have come from the floor of an early Christian church near Antioch — Elephant Attacking a Feline, late 4th-mid 5th century
Turkey

G240

Mirror, round, black and green patina. — Mirror, 1st-2nd century
China

G215

mirror, round, with pictorial decoration in relief, Yeuh type — Mirror, 1st-2nd century
China

G215

Semi-translucent grey jade marked with brown clouds. Used a decorative ring on belt. — Belt Ornament, 206 BCE - 220 CE
China

G215

Theatrical robe (for a Taoist immortal) of yellow satin embroidered with large scale design of peaches, bats in medallions, and floral sprays. Collar-band, extending to waist, of embroidered white satin. Cuffs and all-around border of black satin embroidered with running floral pattern. Belt section, stitched at upper edge only, of embroidered black satin, and two narrow hanging panels of the same at each side of front opening. Long, very wide sleeves, chiefly satin and couched stitch. Lining of thin pink silk. Note This robe reputed to have been worn by a Tibetan prince. — Theatrical Robe for a Taoist Immortal, Kangxi period, 1662-1722
China

G218

Theatrical short coat of pale coral colored satin embroidered with slender, sinuous dragons in shades of blue, violet, green, pink, yellow, orange, and red. Satin stitch with outlines of couched gold thread. Wide border, collar, and cuffs of polychrome brocade in a design of floral medallions. Note triangular shape of sleeves and drawing of dragons. Lining of thin lavendar silk. This probably a woman's coat, but worn by male actor as is customary in China. — Pink Winged short jacket, Kangxi period, 1661-1722
China

G218

Theatrical robe for a warrior, the heavy gold thread panels, body section, and epaulets representing the chain armor of a warrior. Yoke of rust-red satin embroidered with five-clawed dragons in couched gold thread. Tiger claw borders of colored brocades, wavy jewel, stone and metal bosses on velvet border bands throughout. Sleeves of green satin banded with wavy strips of gold and colored brocades. Skirt composed of five shaped panels. Linig of pink satin. Seal inscription in front. — Theatrical Jacket and Skirt for a Warrior, Kangxi period, 1662-1722
China

G218

Actor's short coat of embroidered gold-colored satin. Five four-clawed dragons in couched gold thread. In the field are thin, loosely-drawn clouds in shades of blue, green, pink, red, mauve, and peach color, cone in satin stitch and outlined with couched gold threads; scattered among the waves are loose clouds, coral branches and symbols of the Eight Precious Things. Under the arms are attached shaped, embroidered panels with gold dragons, and at lower front of coat a quare panel of the same. These, and the shoulder area of the sleeve, are bordered with a band of black velvet studded with metallic bosses. Outer border of 'tiger claws' in fragments of colored brocade like that in Buddhist priest robe C.80 (42.8. ) Gold and red brocade sleeves, much worn, banded with black and gold brocade. Lining of painted pink silk. Light padding. See matching skirt, 42.8.127B. Matching skirt Actor's chaps of embroidered gold-colored satin to match coat 42.8.127a. They are made of two shaped side panels attached to a deep waist band of the painted pink silk with which they are lined. One four-clawed dragon in couched gold on each panel. Shaped border with appliqued scrolled pattern of black and gold brocade edged with a narrow band of white braid and bound with red satin. Front and sides banded with tiger claws of brocade, as on coat. A handsome and well-preserved costume. Compare genreal drawing with K'angHsi group. Note The actor wearing these chaps was supposed to represent a man on horseback. — Theatrical Jacket and Skirt for a Warrior, Kangxi period, 1662-1722
China

G218

Bed Cover of embroidered black satin. Design of birds and flowers in shades of blue, green, pink, peach. etc. in satin, laid and knot stitch. Good quality Canton work. Tasselled fringe border of black silk twist. Thin white, silk lining. Embroidered silk. — Bed Cover, 19th century
China

G217

Large Hanging of brick-colored satin embroidered with five-clawed dragons and Buddhist smbols in gold; clouds, bats, and Eternal Sea in satin stitch in colors. At each end a large fish rising from the waves sends out a spray of some substance from which emerges a small temple. Hanging made up of gored strips. Lining of yellow cotton. — Large Hanging, 19th century
China

G217

Brush holder, white jade carved with design of landscape showing mountain rocks, flowers and Ling-Chih, the plant of Long Life. — Brush Pot, 1736-1795
China

G210

Imperial theratrical robe for a warrior; crimson velvet with panels of imported European brocade. — Theatrical Robe, 1662-1722
China

G218

Theatrical robe of palest lavendar satin with couched and embroidered applique designs in gold, silver, green, and peacock blue silk threads. In the field two large gold four-clawed gold dragons with bulging green glass eyes and studded with mirror and metal studs. Below dragons, front and back, two gold fish in same technique. On sleeves silver thread butterflies and gold thread frogs, also with studs and green glass eyes. Surrounding these animals in the field are embroidered applique peonies and single clouds. Cuffs, collar-band and border of bright blue satin with appliqued flowers of couched silver threads, and shaped, embroidered applique medallions of white satin. Large silvered studs scattered liberally over ground and along all borders. Lining of coarse linen. Robe boned under arms and fitted with deep satin loops- for a belt? Inscription inside front. — Robe, 19th century
China

G218

Actor's robe, imitating a priest robe, made up of pieces of satin in shades of blue, pink, and pale lavendar, and embroidered with butterflies, flower sprays, and good luck characters in gold and colored silk threads. Cuffs and shaped border of white satin embroidered with similar designs at sides; an inner border of red satin embroidered with bats, good luck characters and Taoist symbols. In center back a shaped medallion containing the appliqued figure of a god surrounded by floral sprays. Satin, stem, laid, and outline stitch. Lining of coarse pink cotton. Inscription in center back (lining). — Theatrical woman's robe, 19th century
China

G218

One of a pair of Imperial prayer banners in imperial yellow k'ossu made up of one wide and two narrow strips attached to a gilded bronze plaque with two dragon heads. The central strip, terminating in slit shaped ends finished with wedge-shaped plaques of gilded bronze, is formed of blue-black k'ossu with an inscription in gold characters mounted in yellow k'ossu, which has a design of the Eternal Sea, slender, five-clawed dragons, bats, and clouds in shades of blue, green, violet, crimson, and pink. The side strips suspended from shaped gilt bronze plaques incised with scrollscarry the same dragon and cloud design and terminate in three narrow strips of blue k'ossu with meander fret in gold. The strips are attached to the yellow band by three gilt bronze fungus heads, which are repeated on ends of blue strips. Lining of egg-shell silk of medallion design. These banners are said to have flanked the Emperor's private alter in the Temple of the Forbidden City. Of superb quality and condition. See Harris label for translation of inscriptions. — Altar Banner, Yongzhong period (1723-1735)
China

G218

Throne seat cover of blue k'ossu with the same floral and emblem design as 42.8.238, except for double peach here seen in panel. Central panel oblong instead of shaped; border wider and no boxed border. Painted details. Lining of yellow satin with cloud pattern. Inscription on back. — Throne Seat Cover, c. 1800
China

G210

One of a pair of Imperial prayer banners in imperial yellow k'ossu made up of one wide and two narrow strips attached to a gilded bronze plaque with two dragon heads. The central strip, terminating in slit shaped ends finished with wedge-shaped plaques of gilded bronze, is formed of blue-black k'ossu with an inscription in gold characters mounted in yellow k'ossu, which has a design of the Eternal Sea, slender, five-clawed dragons, bats, and clouds in shades of blue, green, violet, crimson, and pink. The side strips suspended from shaped gilt bronze plaques incised with scrollscarry the same dragon and cloud design and terminate in three narrow strips of blue k'ossu with meander fret in gold. The strips are attached to the yellow band by three gilt bronze fungus heads, which are repeated on ends of blue strips. Lining of egg-shell silk of medallion design. These banners are said to have flanked the Emperor's private alter in the Temple of the Forbidden City. Of superb quality and condition. See Harris label for translation of inscriptions. — Imperial Altar Banner, Yongzhong period (1723-1735)
China

G218

Mirror, round, with design of dragons and compound lozenges. Shou-chou type. — Mirror, 4th-3rd century BCE
China

G214

Round, silverized, animal and grape design — Mirror, 8th century
China

G208

Round, Tree of Life design, rabbit preparing elixir of long life. — Mirror, 8th century
China

G208

Round, lacquer, gold and silver. — Mirror, 8th century
China

G208

Mirror, round, with dragons on interlocking 'T' ground. Lo-yang type — Mirror, 4th-3rd century BCE
China

G214

a: camel standing on diamond-shaped base; head up with mouth open, tail up and curled; yellow with traces of red and black pigment; double hump; b: man sitting with legs splayed and PR arm up; man wears hat, jacket, pants and boots — Two camels and a groom (Camel and groom), 618-906
China

G207

Head, stone, 'Hacha' type, of hard greyish stone. Animal headress; ears pierced for rings. Mexican (Vera Cruz) cat. card dims H 9 x W 4-1/2' — Hacha, c. 600-900 CE
Nopiloa (Veracruz)

G260

standing figure, heroic size; figure is bulky, with beast-like feet slightly arched, and stunted arms, the left bent, hand on stomach, the right bent up to hold a jar on the right shoulder; narrow head with long pointed chin, large hooked nose with plug, bulbous eyes, and huge round ear plugs pierced in the center; the figure wears a flat band headdress, bracelets, an epaulette on the left shoulder, and a sashed skirt with geometric patterns painted in polychrome; details of body also painted — Figure, c. 100-200
Nayarit

G260

Stouf's representation of the saint shows him standing and looking down at two dead infants at his feet. His facial expression registers his horror at he devastations of the "Fronde"--the civil war of 1648-1653. The resultant life-size statue was the sculptor's first major work. — Saint Vincent de Paul, c. 1787
Jean Baptiste Stouf

G324

The Artist's Daughter, Julie, with her Nanny, Berthe Morisot — The Artist's Daughter, Julie, with her Nanny, c. 1884
Berthe Morisot

G351

Still Life. Cubist. — Still Life, 1917
Juan Gris

G367

Tankard, Parcel gilt, wrought in extremely high relief, with the scene of the Crossing of the Red Sea — Tankard, about 1690
Nathanial Schlaubitz

G350

Saint Augustine and Saint Monica — Saint Augustine and Saint Monica, 17th century
Gioacchino Assereto

G330

one of a pair — Portrait of Catharina van Voorst, 1628
Paulus Moreelse

G312

(One of a) Pair of War Stirrups, iron with silver inlay. Inscribed with maker's name. Kuniyuki, maker, sho worked in Knangawa. Wisteria and wave design in silver inlay. — (War Stirrup, one of a pair), 17th century
Japan

G219

Diogenes, Johann Carl Loth — Diogenes, 17th century
Johann Carl Loth

G308

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