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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
China

G210

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

G351

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

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

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

G355

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

G307

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

Not on View

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

Not on View

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

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

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

Not on View

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

G200

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

G251

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

G367

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

G355

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

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

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

Portrait. — Sandy, 1946
Walt Kuhn

Not on View

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

G343

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

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

G355

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

G241

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

G312

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

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

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

G310

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

G309

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

G312

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

G312

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

G260

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

Not on View

The Fighter of the Spirit, 1928
Ernst Barlach

Exterior Grounds

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. 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

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

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

G330

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

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

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

G250

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

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

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

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

G365

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

G303

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

G340

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

Not on View

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

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

G205

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

G340

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

G230

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

G250

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

G351

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

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

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

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

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

G215

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

G215

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

G215

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

G218

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

G218

Coat of embroidered staw-colored satin. Design of floral sprays and large canopied lantern with long life character. Double sleeve bands of embroidered yellow and embroidered white satin. Collar band and border on bottom and sides of black satin embroidered with flowers. Colors pink, mauve, blue, green, red and orange. Chiefly satin and outline stitch.Wide sleeves. Lining of yellow satin. — Chinese Woman's Unofficial Informal Robe, 20th century
China

G218

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

G218

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

G218

Coat of gold K'ossu with design of 100 boys at play in landscape ground. Colors pink, blue, green, red, tan, and grey. Wide sleeves. Lining of tan satin damask of medallion pattern. — Robe, 20th century
China

G218

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

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

Picture hanging of soft brick-red kesi representing 'The Feast of Peaches,' a favorite subject with the Chinese. In the upper left, Xi Wangmu descends from her clouds on the phoenix. At the upper right are the gateway and stairs to paradise. beneath are the gods of office, longevity and happiness, and the Eight Immortals. In the field are spreading pine trees, peach trees, bats, the crane, spotted deer, and other symbols of longevity and immortality. Shades of blue, green, red, peach and tan. Painted details. A kesi (silk tapestry) picture which was hung in the Imperial Palace of the Forbidden City in Beijing on special occasions. This is an outstanding example of this type of weave. It is 3 x 5 feet. The background is of old rose or peach, a shade of which the Chinese were especially fond. The other colors are blended with the skill which characterizes old work of this nature. The scene is one that is familiar to the Chinese, representing 'The feast of the Peaches' (Bao Dao Hui), which took 3,000 years to ripen and conferred immortality on the partakers. Xi Wangmu, the Goddess of the Western Heavens, is descending from the clouds on her phoenix to attend the feast. The gateway and stairs leading into Paradise, situated in the Kunlun Mountains, show at the upper right. The three Gods of longevity, Office and Happiness are seated in the center of the borders of the 'Lake of Gems', Yao Chi; the eight immortals with two attendants appear in the lower part of the picture. The peaches, crane, pinecones, scattered fungus, spotted deer, etc.; typify longevity and immortality. This picture is of the Qianlong period (1736-1795). Former Classification: Textiles - Tapestry — Pictorial Hanging Illustrating the Feast of Peaches, late 18th century
China

G217

Scroll hanging of embroidered blue silk mounted in brocade border. The scene represents three taoist gods of Longevity, Shou-hsing (left); of Public office Lu-hsing (center); of Happiness, Fushen (right) with three boy attendants carrying objects of rank and authority. The embroidery and blending of colors is of high quality in this panel, which is said to have been purchased from the imperial collection. — Hanging Representing Three Daoist Gods, early 18th century
China

G217

Altar frontal of faded coral satin embroidered with a large elephant, clouds and sprays of floweres in colored silks and couched gold threads; elephant partially worked with peacock feathers. Valance section embroidered with three medallions containing good luck symbols and characters, and flowers. Gold thread and colored silks in couched and satin stitch. Borders of black satin embroidered with flowers in shades of blue, and symbols in couched gold threads. Lining of pink cotton. — Altar Frontal, 19th century
China

G210

Robe of lavendar k'ossu with scattered design of phoenix, canaries, butterflies and flower blossoms in shades of green, peach, yellow, pink, rose, etc. Cuffs and border of black satin embroidered with a design of butterflies and flower sprays in satin, laid, and outline stitch; green, yellow, purple, blue, pink, etc. Inner border of pale blue satin embroidered with flower sprays and edged with trefoil band in band in black. Lining of lemon yellow silk. — Court Robe, 19th century
China

G218

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

G210

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

G218

Robe of violet satin brocaded in gold with widely spaced double-peach and pomegranate. Wide sleeves banded with light blue satin with braid applique above a beaded swag. Collar band of same. These bands, Victorian in flavor, much later than the brocade of the robe proper. Robe slit at sides and lined with thin blue silk. Note pocket on under side of front. — Robe, 19th century
China

G218

Coat of solid needlepoint with swastika fret dipaer in yellow and white against which are embroidered peonies in three shades of blue. Wide sleeves with wide band of needlepoint bearing pink peonies against a background of blue leaves on a pale pink ground. Above, a band of black satin embroidered with butterflies and peonies in shades of lbue in satin and knot stitch. Collar-band and complete border of same. Coat slit at sides and lined with thin blue silk. — Manchu Woman's Unofficial Informal Robe, 19th century
China

G218

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

G218

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

G218

Altar frontal of pale brick-colored k'ossu. In the center of the lower section a large, seated four-clawed dragon in dull gold with a longevity character in the curve of its tail. Loose, fat clouds and bats in shades of green, blue, yellow and tan. Below, the waves of the Eternal Sea with Taoist symbols. Above, in the valance section set off from main field by a band of dark blue and gold brocade, are three pale brick-colored medallions on an apple green k'ossu ground. In the end medallions two slender dragons of K'ang Hsi type; in central medallion the two dragons are spearated by a longevity symbol. Surrounding the medallions, bats and fat clouds in shades of blue, brown, yellow, and tan. All-around applied border of two-fold dark blue and gold brocade. Lining of steel gray satin damask. Note dragon's face and tail have been restored by applying sections of finer, later k'ossu. A.P. says Faded and poor quality, but still I think K'ang Hsi. — Altar Frontal, Kangxi period, 1662-1722
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

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

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

Robe or jacket of cut red velvet on a gold woven background. The design consists of large peony blossoms and butterflies. Shaped collar band and skirt borders of white satin embroidered in a landscape design with figures of women; couched and satin stitch in pastel colors. Wide sleeves with cuffs of pale blue cut velvet of Hundred Antiques design. Cuffs bordered at upper edge with a band of black satin embroidered with flowers and emblems in shades of blue. Leaf-green satin lining. A woman's robe. — Chinese Woman's Unofficial Informal Robe, 19th century
China

G218

Outer coat of deep blue silk of dragon medallion pattern embroidered with large phoenix and peony medallions, floral sprays and butterflies in shades of bule, yellow, green, peach, pink and rust. Shaped collar-band, bottom and side border of white satin embroidered in a landscape design with figures of men and women. Wide sleeves with cuffs of brocaded yellow silk embroidered with large peony and lotus blossoms and butterflies in shades of red, pink and blue. Secondary border of grey satin embroidered with flowers and long-life characters in shades of blue. This coat opens all the way up front, and is probably a woman's coat. Lining of thin blue patterned silk. Cheifly satin and knot stitch. — Robe, 19th-20th century
China

G218

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

G218

Table Cover, early 18th century

China

G210

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

Altar Frontal of rust-red brocade. Five four-clawed dragons, one large one in center, in gold. Field of loose clouds and bats gripping symbols in shades of blue, green, pink and peach. Below, the Eternal Sea with branches of Coral in the curling waves. Border of the satin brocaded with running design of flowers, bats and symbols. Across the top a loose strip of green satin brocade with a design of bats, clouds, sacred vessels, plum blossoms, narcissus, and Taoist symbols. Border of the green satin with design of running flowers and synbols. Linings of thin yellow damask and orange silk. Compare Eternal Sea area with that on K'ang-Hsi robes. For a similar altar frontal see London Ill. News, November 30,1935, p.988 — Altar Frontal, 18th century
China

G210

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

G214

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

G208

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