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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

Figure

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

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

Catafalque Flambeau, wrought iron bobĂšche tray (6-3/8 in.), wooden bobĂšche with pomegranate seed and leaf carvings (6-œ in.), baroque carved structure skeleton(49-œ in.), iron pole shaft (40-œ 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

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

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

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

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris

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, 1649

Aelbert Cuyp

G312

buildings and bridges with water in foreground; church left of center

Le Pont de Moret, 1888

Alfred Sisley

G351

Nude female figure lying on a flowered couch

Nude on a Couch, c. 1880

Gustave Caillebotte

G351

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

%C2%A9 Chuck Close%2C courtesy PaceWildenstein%2C New York

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 (FrÀnzi 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 LargilliĂšre

G308

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, 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), 19th century

Benin

G250

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

Figure

The Fighter of the Spirit, 1928

Ernst Barlach

Exterior Grounds

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

standing infant with PL arm upraised; striding forward with PR leg; wearing gold, red and black garment tied with sash, and gold and red shoulder cloth; long dark hair; standing on five winged putto heads

Christ Child, one of a pair, c. 1640

Attributed to Felipe de Ribas

G341

standing infant with arms out, PL arm slightly upraised; thick, short hair; standing on rocky element; wearing brown and gilt garment trimmed in dark brown fur; gilt shoulder cloth

John the Baptist as a Child, one of a pair, c. 1640

Attributed to Felipe de Ribas

G341

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

%C2%A9 Tony Berlant

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

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris

Soleil rouge maritime, 1927

Max Ernst

G377

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

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

human face with long ears; open mouth with teeth; red linear designs

Mask, c. 900-300 BCE

Olmec

G260

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
Emperor's ceremonial twelve-symbol coat of yellow k'ossu with nine five-clawed dragons, those in profile clasping the Heavenly Jewel. Background of loosely drawn cloud forms, bats, and good luck emblems in shades of blue, green, violet, red, rose, and gold. At bottom wide border of tossing waves dotted with flowers, flower vases, swastika and other emblems. At sides, center front and back where coat is slit, small areas of slanting, wavy stripes. Similar reduced border at elbows, where sleeve is extended by a strip of ribbed yellow silk finished with cuffs of dark blue k'ossu. Band of same dark blue k'ossu around neck and down front to under arm. Coat lined with figured blue silk and lightly interlined. Yellow ceremonial coats worn in sacrifices to earth.

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

Bacchante and Satyr, 1869

Jean-Baptiste Auguste Clésinger

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.

%C2%A9 Estate of Bob Thompson%2C Courtesy of Michael Rosenfeld Gallery%2C LLC%2C New York%2C NY

Homage to Nina Simone, 1965

Bob Thompson

Not on View

Copright of the artist%2C artist%27s estate%2C or assignees.

Awatovi Birds, 1990

Dextra Quotskuyva

Not on View

%C2%A9 1991 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

%C2%A9 Arthur Black Cloud Sr.

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
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)

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
Still life showing bust of Francis I of Este with attributes armor, a globe, gloves, a silver platter, a bird and an astrolabe. Unsigned.

Allegorical Still Life with Bernini's Bust of Francesco I d'Este, c. 1660

attributed to Francesco Stringa

G330

Unfinished Portrait of Henry J. Brent, 1811-1850, c. 1850

Charles Loring Elliott

G324

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

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