head with elongated earlobes; downcast eyes; headdress with scrolls, tassels and floral forms, with pair of ornaments on either side with three red balls on blue drops; traces of blue pigment at hairline; traces of red pigment on lips; traces of olive-colored patina on skin of face; red, green and blue pigment on headdress; received attached to rectangular black base — Head of a Bodhisattva, late 6th century
China

G200

small beige colored vase with bulbous body, narrow neck, flared mouth; dark designs of fish and organic vine motif separated by horizontal bands; tendril design and geometric design up to neck — Vase with fish, 14th-16th century
Thailand

G213

flat bottom; bulbous, slightly flattened bottom section; vertical wide neck with ribs; pair of irregular blocky handles; thick inverted mouth ring; entire piece intentionally asymmetrical/misshapen/slightly collapsed, with broken incised wavy line on bottom section and inherent cracking; green, light brown and tan glaze; brown lacquer cover with faceted top knob — "Burst bag" Freshwater Jar, late 16th - early 17th century
Unknown Japanese

G224

seated man wearing a green robe with yellow trim, white belt, and turquoise colored necklace, with a cap of curving design tied under his chin; man has his PL hand on his knee and his PR hand held palm out with his thumb touching his second finger; man seated on a raised green and yellow platform; lower portion of platform is separate ceramic piece — Figure of the Daoist Deity Tianzun, 16th-17th century
China

G201

lacquered writing box with heavily decorated cover and sides; zigzag down center divides pine tree with plum blossoms against a black background, from motif of chrysanthemums and leaves against reddish background; motifs continue on sides; ink stone and two empty boxes inside — Writing box with pines, plum, chrysanthemums, and paulownia, 16th century
Unknown Japanese

Not on View

dark burgundy velvet border; square blocks each pieced with irregular fabric scraps sewn together with embroidery floss in various stitch types and colors; various fabrics including embroidered and appliqued parasols, fans, teapot, flowers, top hat, butterfly, large blue leaf; at least four fragments of printed ribbons from various events including Grand Masonic Reunion, 1876, and Wisconsin Pharmaceutical Association, 1862; backing of burgundy fabric with inherent pleating — Crazy quilt, c. 1882
United States

Not on View

view over calm lake with mountain in background; green landforms with trees at left and right; rocks and grass in LLC; a few clouds in URQ — Bear Mountain and Iona Island on the Hudson River, 1872
David Johnson

G323

bald headed, friendly-appearing figure at left holding a bag open between his hands, which extends toward left; two bold text characters on bag and three thinner characters; two red seals at left center at bottom of bag; blue and brown mount — Budai Opening His Sack, mid 18th century
Hakuin Ekaku

G222

light brown patina; standing man holding an infant in the crook of his PL arm, seated on a book; man has hair cut in a tonsure hairstyle — Saint Anthony of Padua, 17th-18th century
Goan Artist

G254

landscape with lake in foreground with brown mountains on opposite shore; tall snow-covered mountain peaks in background with low clouds; trees and bushes, including one bush with red leaves, at left — Autumn in the Adirondacks, c. 1872-73
Alexander Wyant

G323

People of Many Nations, 1649

Unknown Japanese

Not on View

mounted fan painting: man in white robe holding a calligraphy brush up to the side of a small cliff or rock formation covered with foliage; shorter man behind him leans over a rock, looking on; ivory roller ends — Hanshan and Shide, mid 16th century
attributed to Kano Yukinobu

Not on View

unsigned; image of two black lacquer kimono stands with different types of gold patterning, hung with various patterned kimono; koto (zither) in LRQ; tubular case with pink flowered brocade, pink tassels and gold bells hanging from right top corner of kimono stand at right — Whose Sleeves?, early 17th century
Unknown Japanese

Not on View

unsigned; musicians and actors on stage at L with audience outdoors, looking on and talking to one another; fence and banners erected behind audience; building at R with men standing and talking behind walls, and others outside sitting and chatting — Okuni Kabuki, first quarter 17th century
Unknown Japanese

Not on View

The details of the figure are made up of calligraphic allusions to the deity's attributes and qualities. — Tenjin on His Way to China, mid 18th century
Hakuin Ekaku

G222

seated male figure holding a court noble's scepter, with face and hairstyle of a Bosatsu; mounted to plaque on back; legs folded in lotus position — Shinto God, 12th-13th century
Unknown Japanese

G220

female figure seated with arms clasped toward chest; wearing court dress, with long, pleated hair; small crown on head; mounted to wooden screen on back — Shinto Goddess, 12th-13th century
Unknown Japanese

G220

dark gray pitcher with bulb-like body, short neck, and dramatically flared mouth; mouth flare is actually wider than body; hole in side of body; rounded bottom — Jar with flared mouth, 5th century
Unknown Japanese

G205

jar with three incised lines around widest part; high neck, slightly flaring mouth with incised lines around outside; remnants of tan ash glaze — Jar, 3rd-7th century
Unknown Japanese

G205

short, round bottle with narrow neck; beige glaze with paulownia leaves and blossoms in black and blue — Sake bottle with paulownia, 17th century
Unknown Japanese

G221

tall, narrow caddy with short, outward-curving mouth and incised line around the middle of the body; dark-brown glaze applied over a brown underglaze; bottommost portion unglazed; tiny ivory lid with concentric, incised lines — Tea caddy, after 1657
Nonomura Ninsei

G224

white gourd-shaped flask with grapevine design painted in underglaze iron oxide — Gourd-shaped flask with grapevines, early 17th century
Unknown Japanese

G221

bowl with rounded square shape with rounded corners; three small square feet; blue-grey with white slip design of twining flowers; arc-shaped trellis (?) at one side; lines and scrolls around border; deep swirl at bottom center — Plate with grapevines, trellis, and geometric design, late 16th century
Unknown Japanese

G225

picnic set with four stacking bowls decorated with bands of flowers and foliage from each of the four seasons; sake flask created from bamboo, with bamboo leaf motif and crested flying birds; sides of caddy are decorated with wisteria; lid for stacking bowls features phoenix with chrysanthemum design; silver handle — Picnic set with plants from the four seasons, 18th century
Unknown Japanese

Not on View

drum core in shape of two adjoined chalices; black lacquer with gold flecked grape vines, leaves, and squirrels — Large hand-drum core with grapevines and squirrels, late 16th century
Unknown Japanese

Not on View

unembellished cup with lid and saucer; small finial on top of lid — Container for rubbing incense, 14th century
Unknown Japanese

G220

long-necked ewer with motif of dragons on handle and lid; bulbous body, gently curving spout with scalloped design around base — Ewer, 15th-16th century
Rihei

G220

incense burner in the shape of an antique Chinese bronze basin with three legs, tall slotted handles and lid; lions in relief over a tao-tieh design on front and back and larger lion with ball on the top on a cloud design of the lid; perhaps originally coated with black lacquer — Incense burner with Chinese lions, 16th century
Unknown Japanese

G220

bronze ritual bell with handle in the shape of a five-pronged vajra, handle stem and bell shoulder decorated with lotus petal design; probably intended for use in Esoteric Buddhist rites — Ritual bell with handle in the shape of the vajra, 18th century
Unknown Japanese

G220

flower vase with squat, round body, high neck, and high foot; ornately decorated with figures in relief; figure of a sage and a crane on each side of neck; two handles — Vase with Rin Nasei (Ch. Lin Hejing) and crane, 18th-19th century
Unknown Japanese

G225

stoneware jar with brownish ash glaze evenly distributed, mostly on the upper shoulder; wide, low shape with wide mouth and short, straight lip; foot pierced in five places with small rectangular openings; five band design around upper shoulder with alternating motifs of concentric circles and triangles with cross-hatching; bands separated by incised lines — Small Jar with Perforated Foot and Stamped and Incised Designs, late 6th - early 7th century
Unknown Korean

G206

black stoneware decorated with close, thin vertical incised lines around body; squat shape with flat shoulder, short neck, flat, flared mouth — Oil bottle, 9th century
Unknown Korean

G206

pitcher shaped like a melon; short, curved spout; handle rises above spout height at top; small cover with tiny loop on top, resembling a melon vine — Ewer in the shape of a melon, first half 12th century
Unknown Korean

G206

tall vessel with graceful widening near top; fluted into six sections; short, thin neck with high mouth; two concentric inscribed circles below neck; horizontal inscribed markings around center — Lobed maebyeong, 13th century
Unknown Korean

G206

small, light gray-blue lidded container with inlaid design of stylized chrysanthemums and dark, arabesque stems; organic design around outer border — Covered box with chrysanthemums, 13th century
Unknown Korean

G206

white bottle with looping floral decoration on body; incised lines around base of neck and body; narrow neck, wide body, narrow foot slightly flaring mouth — Bottle with floral design, late 15th century
Unknown Korean

G206

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Unknown Japanese

G225

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Unknown Japanese

G225

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Unknown Japanese

G225

many small children playing with and climbing on a white elephant that is lying down — Chinese Children Playing with an Elephant [right of a pair], late 18th-mid 19th century
Style of Nagasawa Rosetsu

Not on View

cup with three lobes; beige in color with underglaze design of diving birds in darker color; darker glaze around lip; incised line below lobes where cup rounds out to bottom — Ash container with three birds, late 16th century
Unknown Japanese

G225

black lacquer table; scalloped cutouts on sides between base and rim; curved, scrolling, upturned feet — Black altar table, 15th-16th century
Unknown Japanese

G221

pitcher with very narrow neck with decorative disk within neck, and narrower, needle-like mouth; short, squat, segmented spout with loose cap; thin incised lines around soft shoulder; green patina — Water vessel (Kundika), 918-1392
Unknown Korean

G206

unsigned; pair of cranes left of center; pine tree at left; swimming duck and pair of smaller birds at right; blooming white and red chrysanthemums; unsigned — Cranes under Pine Trees, 16th century
Unknown Japanese

G221

ink drawing of skinny elderly man in straw hat running toward L, carrying a long pole that he aims at a dangling object in a tree at UL; inscription at R — Bird Catcher, 18th century
Hakuin Ekaku

G222

standing, smiling female nude with PL foot crossed in front of PR leg, holding a staff twined with vines, with a pinecone finial, with her PL arm behind her bowed head; woman holds a large bunch of grapes in her PL hand, hanging next to her long wavy hair; tiny boy climbs up staff and reaches for bunch of grapes — Bacchante à l'Amour, c. 1892
Jean-Léon Gérôme

G352

standing nude woman with long wavy hair, with a mischievous expression, and her PR hand drawn up to her mouth; small figure with the head, torso and arms of a human and a long serpent's tale twined around a tall stump covered with a vine; small figure leans of woman's PL shoulder and pushes a tiny fruit toward her PL hand — Eve Tempted, 1874
Jean-Baptiste Carpeaux

G324

six richly painted scenes: couple sitting close at R with approaching figure; male and female sitting across from one another in small structures; female figure in stylized rickshaw with male figure nearby; two male figures fighting; male figure at end with sword and open fan — Six No and Kyogen Pieces, 17th century
Unknown Japanese

G219

snow-covered rocks at L with wilted, snow-covered reeds; hazy snowy mountain in background; patches of light gold wash; inscription at R — “River and Sky in Evening Snow,” from the Eight Views of the Xiao and Xiang Rivers, c. 1602-1603
Kaihō Yūshō; Author: Inscribed by Saishō Jōtai

Not on View

six figures set against a silver ground; from L to R: standing man with parasol; standing man with gold hand fan; two seated musicians facing two seated figures, one of whom is an elder — Scenes from Kyōgen Theater [left of a pair], mid 19th century
Fukushima Chikaharu

G219

hand-sewn fuchsia silk border; band of apricot silk at top with orange striped cotton hanging tabs at top; at the top, a border of polychrome silk embroidery depicting dancing female angels and cherub heads amidst a lush background of stylized carnations and other florals, highlighted with gold sequins and metallic wrapped thread, dated "1810" in LRC; below is a group of three monochrome white-on-white embroidery and cutwork samplers--left: spot floral motifs and border designs in embroidery, broderie anglais and pulled work ("deshilado") with Angus Dei (Lamb of God) at center holding a pointed flag in its mouth, moth, flowers and two birds eating from a bowl, with "J.S" at top center; second row, center: three scalloped edges featuring different pullwork patterns, central cutwork cartouche with tulle insertion embroidered "ROSAURA MUNOSCANO" (upside down) at center, with birds, goat and flowers and a salmon-colored backing; second row, right: various floral motifs, deer and Angus Dei in embroidery and broderie anglais, with central crowned "IXR" above double-headed eagle motif with the initials "J.J."; third row, left: square sampler divided into four quadrants by central cross with geometric motifs in polychrome (primarily purple, white and yellow) silk and beaded boarders, with "EMILIANA ALCAZAR. DICIEMBRE, DE 1814" at bottom; third row, right: large horizontal embroidery executed in silk on linen mostly in satin and stem stitch, with flowers including rose, passion flower and carnation as well as birds, butterflies, dog and deer surrounding a central floral wreath encircling a female figure in plumed headdress with mask or head of a man; black and yellow bird to upper right carrying a pink-leafed wreath with initials "L.L." in cursive; macaw with banner in its mouth dated "1861"; fourth row, left: two horizontal strips of embroidered flowers--red and pink, and lavender; fifth row, left: sampler with monochrome white-on-white floral broderie anglais motifs and polychrome silk vases/baskets with flowers — Wall hanging with embroidered samplers, 1810-1861
Rosaura Munoscano; Artist: Emiliana Alcazar; Artist: Soledad Santaella

G304

male figure in gray and white striped kimono grabs the wrist of a young female attendant who was handing him a red dish; other young women and geisha serve tea, play instruments, and dance around the man; small feast in front of man on ground, including large red snapper; scene takes place on a green dock over water — Summer Party on the Bank of the Kamo River, around 1800
Utagawa Toyohiro

Not on View

mask of a slightly smiling female face; lips slightly parted with black teeth; eyes looking straight forward; painted eyebrows near top of forehead; painted black hair framing face; ivory pigment with gray shading — Noh mask of a woman, 18th-19th century
Unknown Japanese

G219

eight panel screen; lotus leaves with pink blossoms and foliage in pond; blue and black birds perched on or hovering around blossoms; each panel has unique image — Lotus Flowers and Birds, late 19th century
Unknown Korean

G206

male figures on a white-curtained balcony; one man is standing, aiming a longbow toward a cloud carrying grotesque figures brandishing weapons — Fragment from Tengu zōshi emaki, around 1500
Unknown Japanese

G221

standing wooden figure with shallowly carved draping robes with small tie at waist; peaceful expression on face; long earlobes and squared hat; figure is missing entire PR arm; PL arm is missing below the elbow, but it is apparent arm is bent forward at elbow — Bonten, the Creator, late 10th century
Unknown Japanese

G220

mask of male face with large nose, round eyes with carved out eyeholes; narrow grin with top teeth visible; wrinkles in forehead; holes drilled into eyebrows, moustache, and chin possibly once for hair — Noh Mask of a Man, 16th century
Unknown Japanese

G219

seated Buddha; PL hand in lap with open palm, index and thumb loosely touching; PR hand up, with index finger and thumb touching; two-tiered knobby hair, long earlobes; traces of red pigment on robes; seated on wide, stylized lotus on round base — Amida, the Buddha of Infinite Light, early 12th century
Unknown Japanese

G220

three figures set against a silver background in various poses; from L to R, a smiling man in a tall blue hat and red kimono dances with a fan; a kneeling figure in black and another in green gesture toward him with right arms extended up and back and left arms extended down, their hands grasping fans; a lone pine frond decorates the second panel from the L — Scenes from Kyōgen Theater [right of a pair], mid 19th century
Fukushima Chikaharu

G219

male figure seated on raised chair with shoes on ground; holds metal object in PR hand and an open black object in PL; spotted white robe with black grid pattern, and green sashes; figure is bald and has large earlobes — Portrait of Rigen Daishi, 16th century
Unknown Japanese

G220

standing figure with a conical hat with ear flaps, long skirt and cloak draped over the left shoulder; figure is standing on rock formation with palms up and crossed at the wrist across the chest; base — Zaō Gongen, Manifestation of Mount Kinpu, 12th century
Unknown Japanese

G220

two young women reading a book; woman in front with blue trim on her garment and wearing a hoop earring with white bead drops holds book in her PL hand and holds a fan with a bamboo handle in her PR hand; woman in back with floral trim on her sleeves with brown ground and wearing a looped earring with white bead drops rests her PL arm on the shoulder of the front woman and points to the book with her PL hand; both women wear ornaments in their hair with flowers--hair ornament worn by woman in back has a dragon holding dangles in its mouth; inscription at left edge in black with two red square seals; round format — Two Beauties, 1847
Liao Yun

G203

felt bag with beaded designs and wide, beaded fringe; one side is red with floral beaded motif; vine motif on the fringe; other side is navy blue with two beaded birds; black and red twisted cord; tassels with shell beads — Firebag, c. 1830
Nēhiyawak (Cree)

G259

light tan hide; beaded bodice on front and back with black, white, red, and yellow beads in arcing horizontal rows on front and back, and band of beads on top of each sleeve; hide fringe below bands of beads with larger blue, brown, black, red, and green beads; hide fringe at bottom hem, sides, beneath sleeves, and on sleeve openings — Dress, c. 1875
Nez Perce

G261

white background with black and red spots, large diamond shape in coral, pink, black, and yellow at C; red inner border with spots interlacing in diamond pattern; wide borders at short ends with red and navy blue thin stripes — Serape, c. 1900
Saltillo

G260

dark background with two horizontal red bands with zigzagging lines; black ikat designs within red bands with red hourglass motifs inside; central block is black; borders are dark charcoal gray — Mantle, c. 1900
Pueblo

G255

white and black, red trim; five teeth inside opening between eyes; red protrusion above head, curving downward; front of body (above head) X design below zigzag; back of body checkerboard pattern; U-shape at top — Plank Mask, c. 1960
Bwa

G254

at the top of tapper is a large, square head with a face characterized by oval, wide-set eyes, prominent nose, and partially open mouth; on top of head is a small headdress carved with patterned lines and slightly rounded at top; figure kneels on cone shape of tapper--her arms are bent at her waist and she cups her breasts with her hands; figure's belly is round with a large belly button and belt at her waist; top of tapper cone has a band of hash-mark-like carvings; tapper curves down to a point; tan in color overall — Tapper, 18th century
Yoruba

G254

standing unisex figure, head adorned with tall, rounded headdress; face is simple with flat, white porcelain eyes, a small carved nose, and a mouth somewhat obscured by round, fabric pouch under chin, which ties at back of neck; figure's abdomen is covered by protruding cylinder with mirrored-front; figure's legs and feet are carved directly into a circular base; overall color of piece is the brown of clay in which it is encrusted; however, there is some red in the fabric piece tied at neck — Power figure, early 20th century
Sundi

G250

four pairs of nude caryatid figures with upraised arms and bent knees, supporting thick seat; figures have tall hairstyles and large bellies; vertical support column at center; thick base; dark finish — Stool, 16th-17th century
Dogon

G250

wooden figure stands with arms outstretched and legs slightly bent inside a rectangular frame with minimal decoration; figure has round head, with a simple, smooth headdress; his eyes are oval, his nose angular, and his triangle-shaped mouth small and slightly open; figure's neck is long and wide, his torso is a round cylinder, and his genitalia are exposed; the figure is footless--his legs disappear into the frame; the entire piece is a dark reddish brown, the natural hue of the wood — Framed male figure, early 20th century
Holo

G250

folding fan of ivory with cream colored ribbon near top of ribs; lacy openwork design of Chinese figures in landscape; figures at top of ribs; row of fish and dragon beneath figures; guards carved with figures and dragons — Folding Fan, early 19th century
China

G217

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

wool panel with navy, light red, dark red and brown stripes approximately 5/8" in width with thin blue and brown stripes alternating; embroidered border with tiny pink and white diamond shapes around outer edge on all four sides — Textile, 18th century
Aymaran

G260

predominately black with red and dark pink stripes at long sides; green border stitching around neck opening — Poncho, 18th century
Aymaran

G260

portrait of a young woman wearing a choker of large pearls, a blue dress with bows on the bodice and white lace netting and ribbons over the shoulders, and white lace and tiny pink and yellow flowers in her hair, with a brown squirrel wearing a collar with a silver chain attached, perched on her PR hand; painted oval around image, with grey ground — Portrait of Olive Craster, 1762
Sir Nathaniel Dance-Holland

G307

standing figure in robes wearing a two-pointed cap; holding heart-shaped object in closed hands at waist — Tomb guardian figures, 16th-18th century
Unknown Korean

G206

vertical composition with Christ on cross wearing a tan loincloth and crown of thorns with six weeping women in jewel-tone robes; skeleton, male nude wearing a crown of snakes, male nude with hands behind his back, and calm-faced woman with blonde hair at foot of cross; received framed in elaborate frame with chased gold balls and faux tortoiseshell — Crucified Christ Triumphant over Death, Evil, and Sin, 1621
Paolo Guidotti, called Cavalier Borghese

G341

dark brown body with lighter brown trim; V neckline; pullover style; front decorated with two horizontal stripes on shoulders with alternating dark and light brown animal hide squares; horizontal band across chest with pairs of vertical light brown bars flanking a small circle of light brown; double rows of tiny light brown squares between bars and circles; pairs of vertical rows of red felt short fringe under arms, at lower center on back and alternating with dark brown rectangles and one square on center of back; dark brown rectangles at center back decorated with vertical stitching in red, blue, light brown and cream; similar stitching on square at center back except in horizontal rows three vertical decorative stitched lozenges above central back on back — Vest, c. 1800
Unangan or Alutiiq

G260

round glass vase with white, pink and maroon roses; maroon and pink roses lying outside of vase in lower left; grey ground — Vase of Roses, early 1870s
Eva Gonzales

G351

landscape with brilliant blue body of water; pink and green foliage on hills beyond water; tall tree with white blossoms at front left; green trees and foliage, and blue, purple, white and pink foliage, in foreground; pale blue sky — L'Anse du Goulineau, 1897
Henry Moret

G354

Landscape. Romantic landscape with large trees, and a bridge suspended between two great rocks. In the foreground groups of figures strolling, talking and riding. This scene painted at the Chateau de Méréville. Park Méréville — The Rustic Bridge, Château de Méréville, France, c. 1785
Hubert Robert

G306

pendant, arched fish form; incision lines to suggest fish fin and generalized features, both sides identical; perforation (very small) at lower jaw; grey blue translucent jade with dark blue spots; traces of clay like substance — Pendant in the Form of a Fish, 475-221 BCE
China

G215

Scroll painting — Plum Blossom, 1454
Wang Qian

G203

White earthenware with white slip. Daoist symbol of the Principle 'Keeping Still; The Mountain' (Ken==) see cat. card for better description. — Tomb Figure Representing a Seated Dog, 618-906
China

G208

Calabash or gourd, white jade, with carvings of plant forms and animals in high relief. — Water Basin, late 18th century
China

G210

Translucent pale green jade with brown markings at the ear of the dragon and the middle of its serpentine body. — Dragon Ornament, 480-221 BCE
China

G215

Landscape. — The White Bridge, c. 1895
John Henry Twachtman

G323

View of Tangier from the Seashore, Eugène Delacroix — View of Tangier from the Seashore, 1856–1858
Eugène Delacroix

G321

blue figure with 3 heads (one white, one blue and one red), 6 arms, 4 legs and wings embracing a green figure with long red hair; flaming mandala behind figures; small thrones below, above and at R and L with various demons, humans and part animal/part human figures; multicolored pigments — Thangka of Vajrakila and Diptachakra, late 19th century
Tibet

G212

coffee pot, vase-shaped with long spout and 'S' scrolled handle; base of spout decorated with leaf motif; engraved crest on body: body engraved on one side with a crest composed of a heart-shaped shield charged with a lion Rampant, ensigned by a cock and draped with delicate sprays of flowers — Coffeepot, c. 1770-1780
Benjamin Burt

G350

Bowl, wide-mouthed wit slightly constricted neck, painted in polychrome. The decoration occupies two bands, set off from each other by a glyph* border about two-thirds of the way up the body. The lower band is divided into six panels, three of which contain seated personages elaborately dressed and carrying ceremonial objects in the left hand. These panels, painted brick red and black on a pale orange ground, alternate with fluted panels, painted brick red. The upper band is decorated with a line of seated personages wearing peaked turbans and separated one form the other by serpent and feathered motifs. The colors repeat those of the lower band. Inside the rim is a wide band of pale orange with a line of stylized heads with towering, paddle-shaped headdresses. Restored. * Glyphs are pseudo-glyphs — Bowl, c. 800-1200 CE
Maya

G260

New Testament parable (Luke 15:11-32): A lively scene showing the Prodigal Son at supper with courtesans at an inn, accompanied by servants and musicians. The room, whose light source comes from a high leaded window on the left, is filled with many still-life details and rich symbolism. In the far left corner is a four-postered bed completely enclosed by velvet drapery. On the opposite side of the room through the open doorway, a thief is being chased by an angry woman, while another figure in a second-story window empties a chamber pot onto his head. Just inside the doorway, hanging on the wall, is a wooden board used for recording the guest's food and wine bill. Having placed his red velvet cloak, plumed cavalier's hat, fur piece and sword on a nearby chair, the Son sits at the round dining table and holds out his glass for a serving boy to fill. On the right, a serving woman carrying a covered pewter platter exchanges a word with the woman whose back is toward us, while a small dog wags his tail in anticipation of receiving the table scraps. A fiddler and a flutist stand behind the table, merrily playing their instruments. On another cloth-covered table in the left foreground are a pitcher, two glasses, and several loaves of crusty bread. On the floor below is a copper wine cooler containing several bottles of wine. Nearby, a monkey, dressed in a striped coat and wearing a ball and chain, munches on an apple. — The Prodigal Son, c. 1640
David Teniers, the Younger

G312

bonnet top and cabriole legs — Chest of Drawers, c. 1755
attributed to Eliakim Smith

G331

translucent white jade — Plaque, 480-221 BCE
China

G215

Pendant in the Form of a Fish, 480-221 BCE

China

G215

Pendant (or knot opener) with incision and relief (both sides identical). Translucent yellowish green jade; the shape resembles a dagger with pointed tip; the handle is in form of a monster like head or mask with incised detail (in double line); a drilled hole at the top which ends as the ear or horn of the monster-mask. — Mi Bow Tip, 1766-1122 BCE
China

G215

Heng Girdle — Pendant in the Form of a Aoomorphic Figure, 480-221 BCE
China

G215

jade, arc with animal combination in open work; relief and incisions, pendant; the upper part of arc extends horizontally, curves down and upward, and terminates by confronted dragon heads with a circular ball in the mouth; open work of curved floral pattern with the two heads with crisscrossed design; slightly raised projecting cirular bosses cover the surface of the arc band; small flanking out wins; three small pendant holes, one at the center of the curve, one on each side near the ear of the dragon's head; mottled grey jade — Heng Girdle-Pendant Headpiece, 480-221 BCE
China

G215

Standing Guanyin with lotus bud(?) in left hand, right hand missing, inscribed base which bears the date 571 A.D., translation of inscription filed with purchase blank, from Xi'an in Shaanxi province. — Standing Bodhisattva, 571
China

G200

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