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Saddle stitched binding, photomechanical illustration of three figures in an alley, with text, printed in color offset lithography on wove paper covers; 18 pp.

Too Much Information, 2002-2004

Tatiana Gill; Publisher: Tatiana Gill

Not on View
22 double leaves. With 4 inserted latex leaves. 4to. Bound with three bands between black cloth boards, these with cut out holes. In black cloth drop box.

%C2%A9 Henrik Drescher

Too Much Bliss, 1992

Henrik Drescher; Author: Henrik Drescher; Printer: Philip Gallo Printed at the Hermetic Press, Minneapolis; Publisher: Granary Books, Inc., New York

Not on View
Caricature

Much Ado About Nothing!!!, 1828

William Heath; Publisher: Thomas McLean , 26 Haymarket, London

Not on View
Single leaf, photomechanical reproduction of woodcut print of a figure biking behind a car printed in offset lithography on coated paper; set of 5 postcards in plastic sleeve

Anti-Hype, vol. II: Too much fun (1 of 5), 1996

Unknown; Publisher: Black Kettle Graphics, San Francisco

Not on View

One WIll Excuse Her Because She Has Danced Too Much, 1847

Paul Gavarni (Sulpice-Guillaume Chevalier)

Not on View
Perfect bound volume, full bleed, photomechanic image of shadows on a building printed in color offset lithography with letterpress text on coated paper covers; 136 pp.

Kitchen Sink, vol. 1, issue 3: the stalker issue, for people who think too much, 2003

Andrice Arp , et al.; Author: Paul Miller , et al.; Publisher: Neighbor Lady Community Arts Project, Oakland

Not on View
large central figure of a standing female nude reminiscent of classical sculpture; figure is peeling back abdomen to reveal a boxer fighting a human outline filled with microorganisms; background is alternating blue squares with closeups of eyes and roundels that look like Petri dishes filled with various colonies of microorganisms; red borders on sides; unframed, stretched canvas

Before and After Frankenstein: The Woman Who Knew Too Much: Observing the Natural Decay and Corruption, 1992

Carole Caroompas

Not on View
Photomechanical text and illustration of a hindu deity between two windows with hands protruding out of them printed in offset lithography on coated paper; plate 15 of 16

Fortune Cookie: YOU WILL FIND MUCH FULFILLMENT WITH SOMEONE SPECIAL VERY SOON. [Plate 15 of 16], 1994

Roxanna Bikadoroff; Publisher: Roxanna Bikadoroff

Not on View

Much Ado about Nothing, 19th century

Max Volkhart

Not on View

Much Ado About Nothing, 19th century

Max Volkhart

Not on View
smoky grey background; white zigzagging line with high peaks with smaller peaks between; "10" below line at left edge

%C2%A9 Dario Robleto %2F Island Press

Young lady, 28, much debilitated by prolonged mental work, the entertainment of company, and the cares of a large household, 1874, Plate 22 from "The First Time, The Heart (A Portrait of Life 1854-1913)", 2017

Dario Robleto; Publisher: Island Press at Washington University, St. Louis

Not on View

An Essay on the Employment of Magnifying Instruments as a Useful and Pleasant Pastime During the Spring Season, by the Author of 'Microscopic Amusement as Much for the Eye as for the Spirit.'", 1764

Adam Ludwig Wirsing + Anon.

Not on View
see object file for complete description of contents

Salomé, 1897

Alphonse Mucha

Not on View

(Country woman), c. 1830-1844

Nishio Muchƍ

Not on View

Young Girl, 20th century

Alphonse Mucha

Not on View
see object file for complete description of contents

Cover page of L'Estampe moderne, June 1897, June 1897

Alphonse Mucha

Not on View

Job, 1896

Alphonse Mucha; Printer: F. Champenois, Paris

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Muchachos al avĂ­o, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Mucho hay que chupar, 1797-1798

Francisco José de Goya y Lucientes

Not on View
comb, mirrors, and wine glasses on tabletop

Copyright of the artist%2C artist%27s estate%2C or assignees

Furniture Workshop in the Glass, 1921

Georg Muche; Publisher: Rudolf Kicken Gallery, Cologne, Germany

Not on View
137 lithographs; type: MĂ©dicus

Ilsee, Princess de Tripoli, 1897

Alphonse Mucha; Author: Robert de Fleys; Publisher: L'Edition d'Art H. Piazza et Compagnie, Paris; Printer: L'Imprimerie Champenois

Not on View
gilt bronze mounted with three emerald green jade plaques. The ruyi was an object much used by the Chinese for presentation purposes, in addition to its regular use as a ceremonial scepter. Former Classification: Jade

Ruyi Scepter, 18th century

China

G214

Cover page from L’Estampe moderne, June 1897, June 1897

Alphonse Mucha

Not on View

Incantation, July 1897

Alphonse Mucha

Not on View

Iris from 'The Flowers', 1897

Alphonse Mucha

Not on View

Lily from 'The Flowers', 1897

Alphonse Mucha

Not on View

Rose from 'The Flowers', 1897

Alphonse Mucha

Not on View
tan panel with central blue area with small red flowers and scrolls; red and blue borders with star-form cartouches and bands of flowers; selvedge on long sides and stitched on short ends; some remnants of gold details--much lost

Painted cotton "Pha nung" textile panel, 18th-19th century

Thailand

G213

small netsuke of a turtle with its head tucked mostly in, carrying a much smaller turtle on its back

Turtle carrying a baby, late 18th-19th century

Unknown Japanese

Not on View
stylized leaning tree with swirling texture on trunk; thick, brambly branches obscure much of the trunk; small leaves

Branches, c. 1880

Rodolphe Bresdin

Not on View
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

saucer, cermaic-porcelain, cup and saucer from a dejeuner, painted with portraits of Louis XVI and Marie Antoinette; the crossed L's in the foliage refer to Louis, and much of the iconography (rings, birds, etc.) refer to a marriage or betrothal

Saucer, 1770–74

SĂšvres Porcelain Factory

G324

Guardian of one of the quarters of the Buddhist heaven. ca 725 A.D. Glazed pottery tomb figure, one of a pair, wearing armor and standing on a kneeling bull. The costume is predominantly blue in tone, but there is much use of mottled yellow, brown and blue in the skirt sections. Elements of Sassanian design in armor. Head and phoenix headdress unglazed.

Tomb retinue guardian, early 8th century

China

G208

faience figure of a woman standing bare-foot on grassy mound in chintz-like peasant clothes; she leans on a tree stump, over her right arm a flower basket and in her left hand a large blossom; refined in shape and painting, these figures are much more delicate than those seen at Strasbourg during the same period

Figurine, one of a pair, 18th century

France

G324

*25.417.76ab cat. card dims H 5-5/8 x diam 2-1/4' Coffee Pot, white ground with gold figures of chinamen; cover, top and bottom of pot fluted. c.1720. Earle Meissen of this type is much valued; made under Herold regime.

Coffee pot, c. 1720

Meissen Porcelain Factory

G319

two figures; larger human figure carved in the round; hand with four fingers held at chest and stomach; eyes and mouth inlaid with mother-of-pearl; arms, legs and face carved with geometric patterns of circles and bands; larger figure stands on top of a much smaller, more representative figure with three fingers and tongue hanging out, overall rectangular in shape

Tekoteko, 18th century

Māori

Not on View
Queen Esther and King Ahasuerus, wool and silk, Flemish XVc fragment from the center of a much larger piece, probably from a set of four to six tapestries narrating the story of Esther Ahasuerus; warp undyed wool, 5-7 ends per cm., weft dyed wool and some dyed silk, 20-32 ends per cm.

Esther and Ahasuerus, c. 1460-1485

Flanders

Not on View
Piece of tan linen embroidered with leafy scrolls and large red flowers. Fragment of much larger piece, Lined with unbleached muslin. Linen

Fragment, 19th century

Uzbekistan

Not on View
oval shaped torque; single ring wrapped with wire; open wire sphere on each side; wire wrapping much finer above spheres; large curlicue dangle at center of oval

Torque, Date Unknown

Miao

Not on View
four lines of carefully spaced, elegantly penned calligraphy; two-part oval relief stamp at LLC; mounted on a much larger sheet of paper

Poetic Couplet, late 18th - early 19th century

Gotƍ Shikkoku

Not on View
spout cup, with globular body and domed lid with turned finial; reeding at neck and beaded rat tail on handle; engraved crest, much worn, on cover

Spout cup, c. 1700

John Coney

Not on View

Job, 1898

Alphonse Mucha; Publisher: F. Champenois, Paris

Not on View

Carnation from 'The Flowers', 1897

Alphonse Mucha; Printer: F. Champenois, Paris

Not on View
Panel, small, of faded red satin made from two pieces, the upper acting as valance. Both embroidered in satin stitch and couched laid work in colored silks, and in both pieces the embroidery is unfinished. Both pieces edged with much worn blue and black brocade surmounted with narrow blue and white braid and gold and blue gimp. Lining and heading of pale yellow China silk, pieced. Probably used on small altar or shrine

Table Frontal, 19th century

China

G218

Round with central electrical components

"Nocturne" radio, c. 1937

Walter Dorwin Teague; Manufacturer: Sparton Corporation

G378

Oblong panel of embroidery on fragment of linen cloth. The pattern worked in red, green and dark blue silks and silver thread, consists of interlocking rows of flowering plants, much conventionalized.

Oblong panel, 19th century

Not on View
Piece of dull blue canvas embroidered all over with cross stitch in dull, red, blue, yellow and black in conventional designs similar to those woven in carpets of the period. Part of a much larger piece. Linen, embroidered.

Panel, 18th century

Iran

Not on View
bag, piece of Kashmir shawl, large palmettes form border; all over floral design in blue, green and rose on cream background; lined with cream-colored pongee; much worn and darned

Bag, 18th century

India

Not on View
bag, piece of Kashmir shawl, cream ground with floral decoration in blue and rose, made up of regularly repeated sprays; bag made with material wrong side up; cream colored pongee lining; much worn and darned

Bag, 18th century

India

Not on View
sixteen lines; last line indented and is much shorter; some looping characters; rectangular relief stamp LLC; it looks as though the R portion of the fan has been removed; not a complete arch

Poem, late 18th - early 19th century

Kameda Bƍsai

Not on View
black cotton completely covered except for sleeve backs with geometric embroidery in multicolors with much orange and metal mirrors; gathered insert at bust forms a bustier shaping; open back ties at neck and below bust with black ties

Blouse, mid 20th century

Dhebaria Rabari subgroup

Not on View
Spoon with long very much curved bowl and short handle with lozenge-shaped section, pointed end, American Indian (Tlingit-SW Coast Alaska), XIXc cat. card dims L 6-1/8 x W 2-1/16'

Spoon, 19th century

Tlingit

Not on View
corduroy black front and back; length of back much longer; design dominated by banding of blue with thin white bands; diamond shaped patterns of pink, purple, white, green and orange in areas of shoulders and sleeves

Coat, 20th century

Miao

Not on View
embroidery, piece of; with flowers and spiny leaf design in blue, green, and henna red. Much of the design obliterated by wear; probably fragment of curtain; selvedge sides with one end hemmed and the other unfinished; silk on cotton

Piece, 18th century

Turkey

Not on View
green frog wearing a crown seated on a much larger red footed square pedestal; key taped to door at underside; coin slot in front of frog in red square at top front

Frog on pedestal still bank, c. 1960s

East Germany

Not on View
bright blue; side buttons to underarm and neckline; standup collar; floral embroidered yoke bordered by commercial floral tape; sleeves have 3 rows of embroidered geometric tape divided by same commercial tape; multicolor with much pink; blue bottom; patches throughout; unlined

Jacket, Date Unknown

Miao

Not on View
Dancing, drinking and amorous peasants in LRC; bathers in water at right; village buildings in distance

Merry and Rowdy Peasants at an Inn, 1653

Philips Wouwermans

G311

ten total lines, on every other panel section; last two lines written much smaller; dark border at top and bottom edges; fully mounted to jet black board; two small square relief stamps LLC; small rectangular relief stamp URC

Things Seen at a River Village, late 18th - early 19th century

Ichikawa Kansai

Not on View
fifteen lines of scrawling cursive, first and sixth lines are bolder; far L line is much bigger, bolder, and written with more distinct characters; mounted on thicker paper freckled with gold leaf flecks

Letter, late 18th - early 19th century

Rai Shunsui

Not on View
vessel in the form of a coati-mundi seated on its haunches and holding its forepaws to its mouth to nibble something; the back of the head is incised to represent fur; brownish surface much worn

Vessel, c. 200 BCE-200 CE

Colima

Not on View
jar with narrow base, wider shoulder; short neck with rolled lip; much of neck and lip are missing; dark brown glaze with greenish and ochre colored overglaze around shoulder dripping down sides

Jar with Broken Rim, 13th century

Unknown Japanese

Not on View
fragment of a larger tapestry, much wider and probably slightly higher; warp undyed wool, 6-8 ends per cm.; weft dyed wool and silk, 20-40 ends per cm.

Courtly Personages in a Landscape, c. 1520-1525

Belgium

Not on View
Tapestry; fragment from a much larger piece, although no other fragments of this tapestry or other versions are known; warp; undyed wool 6-7 ends per cm.; weft dyed wool and silk, 18-44 ends per cm.

The Virgin and Saint John, c. 1520

France or Flanders

Not on View
two figures in pavillion on stilts in water; dark rock coveriing much of pavillon; pine trees and larger rock formations in background; bridge through haze at center; boat at L; inscription

Early Spring Landscape, Before 1459

ShĆ«sei; Author: Inscribed by Sesshin Tƍhaku

Not on View
Pan at right, grabbing Syrinx around the waist, who has her PR arm up and her PL arm across her chest, pulling away; three other figures seated in LLQ; medium brown wash through much of image

Pan and Syrinx, c. 1760

Attributed to Giuseppe Bazzani; Artist: Formerly attributed to Francesco Trevisani

Not on View

On the Table, 1923

Georg Muche; Printer: Staatliches Bauhaus; Publisher: Staatliches Bauhaus

Not on View

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Blind Man's Buff, 1945

Max Beckmann

G371

Vessel in the shape of an owl. Two flanges, one ending just under the beak in front and the other continuing to the top of the head in back, have alternating straight and L-shaped scores, those on the front flange being much the deeper of the two. The tail, with a scored flange border, forms the back support of the vessel. Apart from the realistically-formed feet, the bird is strongly stylized. The body is completely covered by rows of scales except for the shoulder line, expressed by a vigorous spiral, and the wings quills, rendered by bands filled with antithetical spirals. Patina green.

Zun wine vessel in the shape of an owl, 13th-12th century BCE

Unknown

Not on View
cylindrical shaped body; slightly sloping at bottom edge; small raised foot; asymmetrical; dark brown with horizontal grey form on side; some incised lines

Black Pull-Out Tea Bowl, 1990s

Koie Ryƍji

G224

Storage box for this object is in D10 MS

Long-stemmed goblet, c. 1900

Friedrich Zitzmann

G379

cabbage tureen, cover and stand; porcelain in green glaze of verying tones; veining in yellow and green, younger leaves in yellow

Cabbage tureen, cover and stand, before 1754

France

Not on View
Triptych

Copyright of the artist%2C artist%27s estate%2C or assignees

Triptych: Prisoners of the Mountain Mist, c. 1910

Giovanni Battista Crema

Not on View
Recumbent female nude bathing in a shallow circular bathtub

Woman in a Bathtub, 1889 (modeled), 1920-21 (cast)

Edgar Degas; Caster: A.-A. HĂ©brard et Cie, Paris

G351

Two glazed doors separated by a central panel decorated with a stylized floral motif in marquetry of various colored woods inlaid with mother-of-pearl and abalone shell, the brass door handles with circular enamelled plaques; original finish intact; fitted with green velvet interior; arrived with key

Display cabinet, c. 1898

E. A. (Ernest Archibald) Taylor

G378

bust of a woman with a cluster of small snakes at the front of her head, wings at the side of her head; intertwined snakes below her breasts

Medusa, c. 1854

Harriet Goodhue Hosmer

G323

Jewelled headdress with pendants suspended from the beaks of decorative birds or from projecting scrolls. Right hand is on right knee, left hand is raised toward the chief diety. Sitting in a cross-legged position, the image of his Dhyani-Buddha in his headdress. Hip-length blouse, with wide round neck and rolled over collar, has a center vertical panel which is pulled into the neck when seated. Three-quarter length sleeves. The skirt is finely pleated and caught up slightly on either side of the leg.

Avalokiteshvara Bodhisattva (Guanyin), from a set of Avalokiteshvara Bodhisattva and Flying Celestials, c. 951-953

China

G200

Panel, small, velvet, rose ground, original design in green. Green grosgrain lining, stained. Velvet much worn and faded and cracked along center fold. A few breaks darned. Unlike most Chinese velvets of this period, the pile is the same length in both pattern and field.

Panel, 18th century

China

Not on View
Chasuble of natural linen, embroidered in coarse laid work with tulips and pinks in shades of rose, yellow, blue and white, each flower encircled with its own stem. In center ofback much elongated standing Virgin and Child, also in coarse laid work. Coarse gilt braid edges and divides chasuble into sections.

Chasuble, 18th century

Austria

Not on View
bag, made from pieces of two shawls, the side shown in picture has a design of leaves and flowers in red, blue, green and beige on a cream silk background; the other side is all wool, much coarser, with an all over pattern, mainly red; borders from two other shawls; red wool lining

Bag, 19th century

Scotland

Not on View
chair cover of deep blue velvet with design of Foo dog, lotus, crane medallion, and sacred vessel in gold. border of profile dragons in blue velvet on gold ground. inner binding of gold brocade; outer binding of black and glod brocade. Threads much worn and broken. cotton lining

Chair cover, 1662-1722

China

Not on View
part of cope; brocade; pale tan ground faded from yellow, nearly covered with silver and gold; large medallions formed by circular bands of flowers and leaves surrounding a pomegranate; colors, varying grays with tawny accents and much gold and silver. Brought from Moscow by Wanamaker's buyer in 1917.

Portion of a cope, 18th century

Russia

Not on View
part of striped silk chasuble from a priest's vestment, Louis SVI design.; a flowing ribbon motif in metal thread both gold and silver over a cream background of heavy silk, much worn; a garland motive of delicate leaves in silver and pink flowers and knots of pink roses brocaded over the stripes completes the design

Chasuble fragment, 19th century

France

Not on View
ten total lines; nine closely spaced lines; first line is broken into two parts and written in much larger characters; mounted to mat with mustard colored fabric border and inserted in mustard colored square fabric holder with ties and inscription on cover

Letter to Daiki, early 19th century

Tanomura Chikuden

Not on View
Mrs. Adesida plays with little girls at a kindergarten she helped organize for children of working mothers in Akure. 'There was nothing here in Akure when we came. It's up to us to organize day nurseries, women's groups, social welfare, adult education. There is so much to do here'

%C2%A9 Marc and Evelyne Bernheim

Nigeria, Modern King: Wife no. 1 of the King of Akure, Mrs. Adesida plays with little girls at a kindergarten she helped organize for children of working mothers in Akure., 20th century

Marc Bernheim; Photographer: Evelyne Bernheim

Not on View
scenes along the shoreline of the Sumida River, with the vantage point looking from the river; houses and buildings with people being active in the streets, with occasional red temple buildings; view is occasionally obscured by large bridge pylons and supports; continuous cloud of haze over much of upper scene; storm near end

Both Banks of the Sumida River, 1781

Tsuruoka Rosui

Not on View
An open book (or diary) with writing on one page and drawing on the opposite page; on R panel (page): the rear end of a canoe superimposed against a background of messy writing, much of which has been crossed out or partially erased; the L panel (page) is a predominantly blue composition with moments of other colors; annotations and blue scribbling around margins

%C2%A9 Philip J. Barber

Study for "Either or (both)", 1981

Philip J. Barber; Artist: Michael Reid

Not on View
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

Not on View
Reclining female nude seen from behind; small wood frame, French mat

Reclining Female Nude Seen from Behind, 1926

Aristide Maillol

Not on View
Nude woman stands with chin down, and holds a cloth around her waist; silver metal frame, linen wrapped mat

Standing Female Nude Facing Right, 1935

Aristide Maillol

Not on View
Landscape

The Merced River in Yosemite, 1868

Albert Bierstadt

G323

Portrait Sculpture of Priest Gyƍki, early 17th century

Unknown Japanese

G220

Bagpipes Bagpiper

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

The Bagpiper, 1910-1911

André Derain

G367

Illustration from the 'Gulshan-i 'Ishq (Rose Garden of Love). A man holds a large bag of clothes seated under a tree, upper center, seven fairies playing in a pool with fountain are gesturing to him, figures surround on four sides by a garden

Raja Bikram Collecting the Clothes of the Bathing Fairies, c. 1710

Mulla Nusrati

Not on View
bowl with low foot ring; carved with abstracted floral design against a combed ground on interior; light grey-green glaze

Bowl, 12th century

China

G204

Copyright of the artist%2C artist%27s estate%2C or assignees

Bathers, c. 1955

John E. Costigan

G353

dark brown in color; square mouth piece cut from rim of smaller end; five holes at top, three at underside

Vertical flute, c. 1800

China

G216

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

Figure

Ganymede and the Eagle, c. 1710

Antonio Montauti

G310

bracelet cut from a section of shell, forming a spiral with an open center; whitish with brownish and greenish areas

Bracelet, c. 1000 BCE

Thailand

G213

2 spiral-shaped sections of shells; holes at center; off-white with light brown areas

Pair of Ear Ornaments, c. early 1st century

Thailand

G213

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