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Shrine head, Yoruba — Shrine head, Yoruba #918

Portrait Of Frank James — Frank, Chuck Close #950

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

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

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

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

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

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

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

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), Ernst Ludwig Kirchner #463

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

G250

Portrait Of Frank James — Frank, 1969
Chuck Close

G280

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

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

G355

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

G377

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

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

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

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

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

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

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

Not on View

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

G367

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

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

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

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

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

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

G310

Portrait. — Sandy, 1946
Walt Kuhn

Not on View

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

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

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

G241

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

G312

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

G343

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

G312

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

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

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

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

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

G330

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

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

G355

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

G312

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

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

Not on View

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

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

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

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

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

G259

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

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

G250

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

Sculpture determined to be a copy of a work from Chichen Itza, Yucatan Peninsula. Reclining figure resting on elbows, head turned sharply to right, legs drawn up and feet resting flat. The hands are placed on the thighs. Flat, cap-like headdress with elaborate ear ornaments carved only in front. Large pectoral, wristlets resembling three rows of fringe, anklets, thonged sandels. Right knee cap restored, lower neck restored, left hand restored, right hand cracked. The base is chipped near the left foot, and a piece is missing at the left corner below figure's shoulder. Authenticity in doubt: 1975. — Chacmool, 20th century
Maya

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

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

G367

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

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

G376

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

G308

Basin with Apollo and the Muses, Workshop of Orazio Fontana — Basin with Apollo and the Muses, c. 1575-1600
Workshop of Orazio Fontana

G332

Mantel clock, J. & J.G. Low Patent Art Tile Works; Manufacturer: New Haven Clock Company (works) — Mantel clock, c. 1884
J. & J.G. Low Patent Art Tile Works; Manufacturer: New Haven Clock Company (works)

G334

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

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

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

G100A

One of a pair of paintings; other 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

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

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

cubist style; face of man with clock in LLC and partial clock faces in ULC and URC; zigzag shapes in lower corners; tans, greys; received unframed — The Clockmaker (Der Uhrmacher/ L'horloger), c. 1914
Ivan Vasilievich Kliun

G367

standing black figure with short curly black hair, wearing a gold robe and gold shoes; man has arms outstretched, holding open book in PL hand — Saint Benedict of Palermo, c. 1734
Attributed to José Montes de Oca

G341

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

two men at left--one standing man wearing a hat holding a staff, looking down to PR, and seated gesturing man with short beard; small group of pigs of various colors and sizes to right of men at center bottom; figure and dog in middle ground at right; two horse pulling a covered wagon right of center in middle ground; expansive landscape behind figures with clouds in sky — A Landscape with a Herd of Pigs, The Swineherd Conversing with Another Man, 1645
Paulus Potter

G312

Oval canvas, female figure holding a bowl. — Bust of a Woman Wearing a Turban, c. 1640–42
Guido Reni

G314

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

G208

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

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

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

G307

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

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

G312

Cubist style; geometricized buildings in LRQ, predominately in salmon pinks, black and browns; blue shapes in UL with geometricized sailboat in tan with white sails at ULC; received unframed — Italian Town by the Sea, c. 1917
Alexandra Exter

G367

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

G330

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

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

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

G215

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

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

G300

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

G214

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

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

G215

Attic; black-figured hydria (three-handled water jar) in the main scene the goddess Athena, painted white, harnesses her four-horse chariot; the scene on the shoulder depicts the divine battle between Heracles and Cynus, with Zeus intervening — Black-figured Hydria, c. 530 BCE
Attributed to the Antimenes Painter

G241

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