Portrait Of Frank James — Frank, Chuck Close #950

Shrine head, Yoruba — Shrine head, Yoruba #918

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, Unknown #225

Mademoiselle Hortense Valpinçon — Portrait of Mlle. Hortense Valpinçon, Edgar Degas #455

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, India #271

Golden Bird, Constantin Brancusi — Golden Bird, Constantin Brancusi #476

Interior of the house — Dining Room in the Country, Pierre Bonnard #941

Three quarter length self-portrait of Francesco de Mura — Self-Portrait, Francesco de Mura #698

Nude female figure lying on a flowered couch — Nude on a Couch, Gustave Caillebotte #730

Gope board, Unknown — Gope board, Unknown #590

Mythological figures in a landscape. A tribute to jazz musician Nina Simone. — Homage to Nina Simone, Bob Thompson #885

Genre. Cubist. Seated man and woman. — Married Life, Roger de la Fresnaye #883

Venice. Church. San Marco. — The Piazza San Marco, Venice, Pierre Auguste Renoir #728

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, Nopiloa (Veracruz) #628

Khmer style of the Bayon; frontal stance; probably had extended hands; narrow shoulders and wider hips; eyes are closed; physiognomy relaxed; sublime expression — Prajnaparamita, Cambodia #291

Portrait of Anna Blocken, Aelbert Cuyp — Portrait of Anna Blocken, Aelbert Cuyp #678

standing male nude; represents man awakening to a fuller comprehension of his physical powers — The Age of Bronze, Auguste Rodin #136

The Tiber Muse, Graeco-Roman #804

Saint Humphrey (Onuphrius), Salvator Rosa — Saint Humphrey (Onuphrius), Salvator Rosa #623

Landscape. Minneapolis, Minnesota. — Mill Pond at Minneapolis, Alexis Jean Fournier #527

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, Nayarit #610

bas-relief; the bronze was cast by Siot-Decauville and bears the number 4 — The Fugitives, Honoré Daumier #746

one of a pair of paintings of angels with 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, Simon Vouet #661

Bacchante and Satyr, Jean-Baptiste Auguste Clésinger — Bacchante and Satyr, Jean-Baptiste Auguste Clésinger #089

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, Nicola di Maestro Antonio (di Ancona) #323

A Roman legionary fallen in battle embraced at the moment of death by the genius or spirit of victory. — Kiss of Victory, Sir Alfred Gilbert #420

male figure; wood, horn, brass tacks, metalwork, glass, beads, fiber and leather — Power figure, Songye #441

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, Frederic Leighton, 1st Baron Leighton of Stretton #724

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, Italy #846

Mask, wood, painted, and feathers inserted in the outer edges; Inuit (Eskimo), Anvik From the Anvik area along the Yukon River. — Mask, Yup'ik #611

Awatovi Birds, Dextra Quotskuyva — Awatovi Birds, Dextra Quotskuyva #637

buildings and bridges with water in foreground; church left of center — Le Pont de Moret, Alfred Sisley #229

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, Nicolas de Largillière #688

after Polykleitos, Roman copy of Greek original, the original executed in bronze, c.440 BCE; one of four known extant copies — The Doryphoros, Unknown Roman #301

Kiss of Judas: accompanied by soldiers with torches and lanterns, he kisses Christ. The scene is described in the Bible: Matthew 26:51, Mark 14:47, Luke 22:47, John 18:3-10 (Then Simon Peter, having a sword, drew it and struck the high priest's slave (Malchus) and cut off his right ear." John 18:10) — The Betrayal of Christ, Anthony van Dyck #703

Genre. Unsigned. — The Birthday Party, John Singer Sargent #456

Citwamo Ca Mangu (Throne), Moxico School — Citwamo Ca Mangu (Throne), Moxico School #450

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, Paul Huet #038

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, Claude Gellée (called Le Lorrain) #705

Harbor. Pointillism. — Blessing of the Tuna Fleet at Groix, Paul Signac #097

Manchu Emperor’s ceremonial twelve-symbol jifu court robe, China #814

Taoist priest robe of embroidered tea-leaf green satin. On the back conventional Taoist motives, large medallions with Buddhist symbols, bats, and butterflies; lotus blossoms and good luck symbols in couched gold threads, and couched twist in colors. On the front two sacred pagodas. Borders of black satin with dragons, Buddhist and other symbols, and clouds in couched gold threads and couched twist in colors. Lining of heavy gold tribute silk of good luck symbol design. — Daoist priest’s robe (jiangyi), China #815

Taoist priest robe of black satin embroidered in couched gold threads and couched twist in colors. On the back conventional Taoist motives and large medallions with Buddhist symbols. On shoulders, large, trailing sprays of lotus. On the front the Yang and Yin symbol. Borders of Buddhist emblems and lotus, edged with Greek key meander in couched yellow twist. Lining of leaf green satin with scattered leaf and flower design. — Daoist priest’s robe (jiangyi), China #815

Forty-seven pages with drawings on front and back covers; bound in vellum — Italian Sketchbook of Antique and Revolutionary Subjects, Unknown Italian, late 18th - early 19th century #545

Peeled Paint, Rochester New York, Minor White — Peeled Paint, Rochester New York, Minor White #480

Beginnings, Rochester New York, Minor White — Beginnings, Rochester New York, Minor White #480

Navigation Markers, Cape Breton, Nova Scotia, Minor White — Navigation Markers, Cape Breton, Nova Scotia, Minor White #480

Two Barns, Dansville, NY, Minor White — Two Barns, Dansville, NY, Minor White #480

Windowsill Daydreaming, Rochester, New York, Minor White — Windowsill Daydreaming, Rochester, New York, Minor White #480

Nude Foot, San Francisco, Minor White — Nude Foot, San Francisco, Minor White #480

Ritual Stones, Notom, Utah, Minor White — Ritual Stones, Notom, Utah, Minor White #480

Dock in Snow, Vermont, Minor White — Dock in Snow, Vermont, Minor White #480

Sand Blaster, San Francisco, Minor White — Sand Blaster, San Francisco, Minor White #480

Birdlime and Surf, Point Lobos, California, Minor White — Birdlime and Surf, Point Lobos, California, Minor White #480

Sun over the Pacific, Devil's Slide, Minor White — Sun over the Pacific, Devil's Slide, Minor White #480

Ivy, Portland, Oregon, Minor White — Ivy, Portland, Oregon, Minor White #480

Portrait Of Frank James — Frank, 1969
Chuck Close

G280

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

G250

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
Unknown

G210

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

G351

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

G211

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

G377

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

G355

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

G307

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

G355

three standing men with factory in back on R — Factory Workers, 1942
Romare Howard Bearden

Not on View

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

Gope board, Unknown — Gope board, 18th century
Unknown

Not on View

Amida, the Buddha of Infinite Light, Unknown Japanese — Amida, the Buddha of Infinite Light, 12th century
Unknown Japanese

G200

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

G260

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

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

G375

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

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

Not on View

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

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

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

G355

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

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

Khmer style of the Bayon; frontal stance; probably had extended hands; narrow shoulders and wider hips; eyes are closed; physiognomy relaxed; sublime expression — Prajnaparamita, late 12th-early 13th century
Cambodia

G213

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

G312

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

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

G230

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

G330

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

G241

Landscape. Minneapolis, Minnesota. — Mill Pond at Minneapolis, 1888
Alexis Jean Fournier

G303

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

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

G310

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

G305

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

G312

one of a pair of paintings of angels with 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

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

Not on View

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

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

male figure; wood, horn, brass tacks, metalwork, glass, beads, fiber and leather — Power figure, c. 1900
Songye

G250

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

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

Mask, wood, painted, and feathers inserted in the outer edges; Inuit (Eskimo), Anvik From the Anvik area along the Yukon River. — Mask, 19th-20th century
Yup'ik

G260

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

G312

Awatovi Birds, Dextra Quotskuyva — Awatovi Birds, 1990
Dextra Quotskuyva

G259

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

G355

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

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

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

G367

The Fighter of the Spirit, 1928
Ernst Barlach

Exterior Grounds

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

G309

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

Portrait. — Sandy, 1946
Walt Kuhn

Not on View

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

G330

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, ca. 1700
Nicolas de Largillière

G308

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
Unknown Roman

G230

Kiss of Judas: accompanied by soldiers with torches and lanterns, he kisses Christ. The scene is described in the Bible: Matthew 26:51, Mark 14:47, Luke 22:47, John 18:3-10 (Then Simon Peter, having a sword, drew it and struck the high priest's slave (Malchus) and cut off his right ear." John 18:10) — The Betrayal of Christ, c. 1618–1620
Anthony van Dyck

G313

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

G351

Citwamo Ca Mangu (Throne), Moxico School — Citwamo Ca Mangu (Throne), 20th century
Moxico School

G250

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

two seated figures, male and female, on separate bases that fit into large separate rectangular base; larger male figure has four arms and sits with PL leg drawn in and PR leg extended downwards at an angle; man wears headdress with wheel on back; one hand has a small animal perched on his fingers, another hand has a small axe-like object resting on fingers; female figure seated in mirror image of man's position, with a small bolster under PR knee; woman is bare-breasted and hold PL hand out, palm up; woman wears a tiered conical headdress with a wheel on the back — Somaskanda, 14th or 15th century
India

G211

standing female figure with bare breasts, in contraposto pose; wearing tiered conical headdress with wheel on back, necklaces, bracelets, rings, heavy belt, gauzy form-fitting slacks, anklets; figure stands on a graduated base; PL arm down, PR hand upraised — Devi Uma Parameshvari, Great Goddess Uma, 14th century
Tamil Nadu, India

G211

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

G351

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

G308

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

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

G367

Manchu Emperor’s ceremonial twelve-symbol jifu court robe, 1723-1735

China

Not on View

Temple banners, pair, made up of five long strips of various brocades and attached to a flat, shaped plaque of wood covered with gold-colored satin brocade and bordered with a shaped band of brown velvet. The brocades making up each banner strip include pale gold-colored satin with rows of dragon medallions and stylizedclouds in gold and colors; tan and gold; green satin with dragon medaliions and clouds; blue with large medallion diaper; deep gold color with large flowers in green; etc. Lining of faded brick-red raw silk. — Temple Banner, 18th century
China

G210

Woman's robe of twilled, cerise silk embroidered with butterflies in shades of magenta, poison green, shades of purple and strong blue. Shaped collar band, skirt borders, and sleeve bands of black satin ebmbroidered with butterflies in colors. Wide cuffs, of white silk also embroidered with butterflies. Lining of thin blue silk. — Robe, 19th century
China

G218

Taoist priest robe of embroidered tea-leaf green satin. On the back conventional Taoist motives, large medallions with Buddhist symbols, bats, and butterflies; lotus blossoms and good luck symbols in couched gold threads, and couched twist in colors. On the front two sacred pagodas. Borders of black satin with dragons, Buddhist and other symbols, and clouds in couched gold threads and couched twist in colors. Lining of heavy gold tribute silk of good luck symbol design. — Daoist priest’s robe (jiangyi), 1662-1722
China

Not on View

Taoist priest robe of black satin embroidered in couched gold threads and couched twist in colors. On the back conventional Taoist motives and large medallions with Buddhist symbols. On shoulders, large, trailing sprays of lotus. On the front the Yang and Yin symbol. Borders of Buddhist emblems and lotus, edged with Greek key meander in couched yellow twist. Lining of leaf green satin with scattered leaf and flower design. — Daoist priest’s robe (jiangyi), 1662-1722
China

Not on View

Forty-seven pages with drawings on front and back covers; bound in vellum — Italian Sketchbook of Antique and Revolutionary Subjects, after 1797
Unknown Italian, late 18th - early 19th century

Not on View

Peeled Paint, Rochester New York, Minor White — Peeled Paint, Rochester New York, 1959 (printed 1975)
Minor White

Not on View

Beginnings, Rochester New York, Minor White — Beginnings, Rochester New York, 1962 (printed 1975)
Minor White

Not on View

Navigation Markers, Cape Breton, Nova Scotia, Minor White — Navigation Markers, Cape Breton, Nova Scotia, 1970 (printed 1975)
Minor White

Not on View

Two Barns, Dansville, NY, Minor White — Two Barns, Dansville, NY, 1955 (printed 1975
Minor White

Not on View

Windowsill Daydreaming, Rochester, New York, Minor White — Windowsill Daydreaming, Rochester, New York, 1958 (printed 1975)
Minor White

Not on View

Nude Foot, San Francisco, Minor White — Nude Foot, San Francisco, 1947 (printed 1975)
Minor White

Not on View

Ritual Stones, Notom, Utah, Minor White — Ritual Stones, Notom, Utah, 1963 (printed 1975)
Minor White

Not on View

Dock in Snow, Vermont, Minor White — Dock in Snow, Vermont, 1971
Minor White

Not on View

Sand Blaster, San Francisco, Minor White — Sand Blaster, San Francisco, 1949 (printed 1975)
Minor White

Not on View

Birdlime and Surf, Point Lobos, California, Minor White — Birdlime and Surf, Point Lobos, California, 1951 (printed 1975)
Minor White

Not on View

French actress; from wet plate negative — Céline Montaland (1843-1891), 1869-1874
Jeremiah Gurney

G365

English singer — Euphrosyne Parepa-Rosa (1836-1874), 1858-1869
Jeremiah Gurney

G365

3/4 plate daguerreotype, hand-tinted, in leather case and red velvet cushion — Untitled [portrait of an elegantly attired man and woman], 1852-1858
Jeremiah Gurney

G365

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

Altar Frontal of gold kesi with large seated, four-clawed dragon in green, partially woven with peacock feathers. In the field are loose, fat clouds, and Buddhist symbols in shades of blue, green, brown, brick-red, tan, and yellow. Below, the waves and sacred Mountain of the Eternal Sea. Note cloud restorations of finer kesi. In upper valance section of brown kesi, set off from main field by an uneven band of watery, run-together clouds, appear the sun disc flanked by two white cranes in a cloud field. Colors include red, green, yellow, and blue. Lining of strips of bright blue satin damask of medallion design. — Altar Frontal, early 17th century
China

G210

Altar frontal of pale brick red kesi with design representing a blue-scaled chilin in a field of flowers, large fat clouds, and symbols in shades of blue, green, pink, yellow, brown and grey. Across the top a band of watery, run-together clouds.(?) Note the bat, of finer, later kesi inset above cloud over chilin's head. Double border inner one of worn, all-over flower and cloud pattern of brocade in shades of light green, yellow, blue and pink; outer of gold and blue kesi of dragon and cloud pattern, perhaps originally part of a robe? The kesi weave is quite coarse. It has been badly worn, and is mended in places. Lining of yellow satin which has been pieced out. — Table Frontal, 1368-1644
China

G210

Sun over the Pacific, Devil's Slide, Minor White — Sun over the Pacific, Devil's Slide, 1947 (printed 1975)
Minor White

Not on View

Ivy, Portland, Oregon, Minor White — Ivy, Portland, Oregon, 1964 (printed 1975)
Minor White

Not on View

from wet plate negative — Untitled [portrait of an unidentified boy acrobat], 1869-1874
Jeremiah Gurney

G365

from wet plate negative — Untitled [portrait of an unidentified man], 1858-1869
Jeremiah Gurney

G365

from wet plate negative — Waldo, c. 1875
Jeremiah Gurney

G365

from wet plate negative — Lea Lilly, 1869-1874
Jeremiah Gurney

G365

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

Altar Frontal of brocaded brick red satin. In the main panel one large five-clawed dragon in gold surrounded by loose clouds in shades of green, blue, and tan. Below, a shallow area of rolling waves among which appear the Eight Precious Things. At the top a short pleated valance bearing five-clawed dragons and longevity characters in the panels formed by the pleats. Linings of blue cotton and thin pink silk. Illegible seal on back. — Altar Frontal, early 18th century
China

G210

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