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

G250

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

G367

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

G241

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

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

G307

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

Nude seated female figure with child in lap. Band above figure's breats. Wearing a necklace with six teeth and a coiled bead. Fiber band around base. — Figure, 20th century
Yombe

G250

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

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

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

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

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

G377

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

G351

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

G351

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

G312

St. Onuphrius in Wilderness, Salvator Rosa — St. Onuphrius in Wilderness, c. 1660
Salvator Rosa

G330

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

Portrait Of Frank James — Frank, 1969
Chuck Close

Not on View

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

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
Unknown Japanese

G205

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

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

G351

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

G317

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

G310

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

G351

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

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

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

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

Pair of elevator grilles, frieze, and overgrille, Louis Henri Sullivan — Pair of elevator grilles, frieze, and overgrille, c. 1893-1894
Louis Henri Sullivan

G300

ebony frame with gilt acanthus leaf decoration; central bust of Flora on top crest rail; original mirror panels — Mirror, c. 1700
Italy

G310

Warrior's Hat (Jagun), Benin — Warrior's Hat (Jagun), 19th century
Benin

G250

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

G200

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

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

G350

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. — Altar Banner, Yongzhong period (1723-1735)
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

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

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

G330

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

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

G208

Mirror, round, with t'ao-t'ieh masks in relief. — Mirror, 4th-3rd century BCE
China

G215

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

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

Child's coat of greenish-brown silk of brocaded design embroidered in satin stitch with an all-over design of loose, thin clouds and cranes in shades of blue, green, and white. Cuffs, bottom,a nd opening banded with black satin embroidered with peony design in blues. A band of the same is applied around body of coat at waistline. Short collar band of black satin embroidered with floral design in blue and gold. Two ties of the greenish silk attached to coat at waist. Lining of faded orange gauze. — Chinese Child's Unofficial Informal Robe, 19th century
China

G218

Robe of green kesiwith all-over design of peonies, orchids, plum blossoms and butterflies. Sleeves and collar banded with black k'esi of bat design. Cuffs of white satin embroidered wit flower sprays. Trimming the kesi band of clooar and opening is a band of floral brocade braid which is shaped into a scrolled line at under arm opening/ Inferior k'ossu with much painted detail. Robe slit at sides and lined with pink silk. — Manchu Woman's Unofficial Informal Robe, Guangxu period, 1875-1908
China

G218

standing female figure; wood; from a 'Karan-Wemba' mask, with heavy encrustation and showing faint lines of body scarification, wood (type unknown) — Standing Female Figure, late 19th century
Mossi (?)

G250

black lacquer with mother-of-pearl inlay; Kang-Shi Period — Tray, late 17th century
China

G210

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

G312

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

G312

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 (Holy Family), 13th-14th century
India

G211

Mirror, square, gilt, wave-curly inlay of gold. — Square Mirror with Wave Design, 2nd-1st century BCE
China

G215

Modello - Apotheosis of Individual Persons : Andrea Doria — The Glorification of Andrea Doria, c. 1750–68
Domenico Corvi

G314

Part of a series of 12 paintings by Vouet of angels holding symbols of the Passion; another is 69.36.1 (angel holding vessel and towel for washing the hands of Pontius Pilate) — Angels with Attributes of the Passion, the Superscription from the Cross, 1627
Simon Vouet

G313

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

G215

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

G241

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

G309

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

G310

inside scene depicts a seated youth with athletic equipment hanging on wall; outer band depicts two scenes in one, a standing figure holding a lyre and two youths, and in the other, two standing youths with staffs face a central figure gymnasium scenes; red on black — Red-figure Kylix, 5th century BCE
Attributed to the Villa Giulia Painter

G241

Genre. — Gathering of Gamblers with Hurdy-Gurdy Player, c. 1660
Master of the Procession

G310

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

G312

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

N.B.Replacement pieces(TV Trays) for this work are located in MS R3A2.2 — Mountain Journey, 1991
Tony Berlant

G100A

blue "sky"; black "ground"; high horizon line; red open circle at top center encompassing ground and sky; turquoise wavy line on bottom of red circle; blue and green wavy lines on ground, with turquoise line near bottom of green band; painted on both sides of glass — Soleil rouge maritime, 1927
Max Ernst

G377

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, 13th century
India

G211

Bowl, shallow, with rim, of celadon ware from the Lung-Ch'uan district. The bottom is decorated with two fish in relief under the glaze, and the outside of the body is carved in a design of leaves. Thick, translucent bluish-green glaze on a body of greyish-white clay which shows through at edges where glaze is thin. The unglazed rim of the foot is a rusty brown, indicating the presence of iron in the clay — Shallow bowl with double fish motif, 12th-13th century
China

G204

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

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

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

G343

wood enriched by 'alla Certosina' marquetry and forty eight panels depicting the Jason Cycle; orginal bronze handle and ball feet; the lid decorated with a border of flying amorini against a background of leaves — Marriage casket, c. 1395-1406
Baldassare degli Embriachi

Not on View

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

China

Not on View

Imperial robe of gold k'ossu with nine five-clawed dragons in blue. In the ground, loosely drawn clouds, the eight Taoist emblems, the bat, flowering branches with peach and couble peach, peonies and narcissus in shades of blue, red, rose, green, peach, yellow, mauve, and brown. Border with narrow band of slanting wavy stripes below tossing wave. Note that the sacred mountain, as well as certain other parts of border, has been painted. Same border treatment at elbows, where sleeves continue with a section of black satin and are finished with an inferior quality of dark blue k'ossu with dragons, clouds, bats, etc. Edging of black and gold brocade; same k'ossu collar and band. Coat slit back and front; lined with thin, gold colored damask. K'ossu broken at shoulders and on collar. — Manchu Man's Semiformal Court Robe (chi-fu), 1723-1735
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

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

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

Not on View

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

Not on View

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

Not on View

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

Not on View

Akicita Wasté (Good Soldier), Martin Red Bear — Akicita Wasté (Good Soldier), 1991
Martin Red Bear

Not on View

marble top not original — Chest of drawers with mirror, 1881
Herter Brothers

Not on View

fox head handle — Ladle, 1927
Arthur Black Cloud Sr.

Not on View

Robe of a Taoist Priest with Buddhist and Taoist symbols embroidered in gold and colors. — Daoist Priest's Robe (jiang yi), Late 18th century
China

Not on View

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

Not on View

Landscape. A characteristic work of the period done in the high tonal quality Lawson borrowed from the Impressionists. — Segovia, c. 1916
Ernest Lawson

Not on View

Unfinished Portrait of Henry J. Brent, 1811-1850, Charles Loring Elliott — Unfinished Portrait of Henry J. Brent, 1811-1850, c. 1850
Charles Loring Elliott

G324

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

G308

Gilt bronze figure of the Bodhisattva Avalokitesvara carrying a fly whisk in the right hand and a small bottle in the left. Long chains hang from the shoulders to the waist and swing in an asymetrical arc over the front of the skirt, their movement emphasized by the long flaring pleats of scarf ends at each side of the feet. Round depressions appearing at intervals the length of the chain, and in the three-lobed crown, indicate that the bronze was once inlaid with jewels. The unisa is a scrolled projection, and the folds of the skirt and scarf are represented by incised lines on the back of the figure. The eyebrows are indicated by double incised lines which merge with the bridge of the nose. — Guanyin, early 7th century
China

G214

Vishnu on a lotus pedestal flanked by his principal consorts; holds a mace, sun dish (cakra), conch and lotus blossom in his four hands; various animals and mythical creatures in background; figures shown at base. — Vishnu with Lakshmi and Sarasvati, Pala period, 11th century
India

G211

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

seated man with a grey overcoat drawn around him, with a helmet (?) over his PL knee, at left, in a ruined brick building; two figures seen from back--one seated wearing a blue shirt, one standing wearing a red shirt with PR arm around shoulders of figure in blue shirt, in URQ — Remembering, 1937
George Grosz

G377

Unsigned — The Choir in the Capuchin Church on the Piazza Barberini, Rome, c. 1815-1830
François-Marius Granet

G305

Madonna and Child — The Madonna and Child with the Infant Saint John, c. 1750
Francesco de Mura

G308

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

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

G375

this piece has been cracked through the middle — Cinerary Box with Cover, 50–100 CE
Roman

G241

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