Ancient Artifacts and Textiles

Photographs documenting ancient textiles and frescoes, revealing details from different cultural backgrounds, showcasing the rich history of decorative arts and their significance.

Lazio Latina Bassiano Santuario del SS. Crocifisso0. Hutzel, Max 1960-1990 Medieval: Architecture, frescoes German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Lazio Latina Bassiano Santuario del SS. Crocifisso0. Hutzel, Max 1960-1990 Medieval: Architecture, frescoes German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Boy Reading: Ned Anshutz Thomas Pollock Anshutz (American, 1851-1912). Boy Reading: Ned Anshutz, ca. 1900. Oil on canvas, 38 1/16 x 27 1/16 in. (96.7 x 68.8 cm). Boy Reading: Ned Anshutz Thomas Pollock Anshutz (American, 1851-1912). Boy Reading: Ned Anshutz, ca. 1900. Oil on canvas, 38 1/16 x 27 1/16 in. (96.7 x 68.8 cm). Thomas Pollock Anshutz American Art American Art

Fragment. Dimensions: 59 in. high 38.00 in. wide (149.9 cm high 96.5 cm wide). Date: 4th-6th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: French. Dimensions: L. 26 x W. 8 inches66.0 x 20.3 cm. Date: 18th century (). Museum: Metropolitan Museum of Art, New York, USA.

Square. Dimensions: H. 14 1/8 in. (35.9 cm)W. 12 3/4 in. (32.4 cm). Date: 4th century. Museum: Metropolitan Museum of Art, New York, USA.

Textile Fragment 6th-7th century. Textile Fragment. 6th-7th century. Wool, linen; plain weave, tapestry weave. Attributed to Egypt. Textiles

Banner Probably of Francesco II de' Medici, 1735 18th century Italian. Banner Probably of Francesco II de' Medici, 1735 22177

Band 6th-7th century. Band. 6th-7th century. Linen, wool; tapestry weave. Attributed to Egypt. Textiles

Umbria Terni Narni S. Maria in Pensole. Hutzel, Max 1960-1990 Medieval: 1982--39 photos Architecture, architectural sculpture (including mosaic) (12th century) 1987--76 photos Architecture, architectural sculpture, wall painting (12th century). Post-medieval: 1982--5 photos Frescoes 1987--8 photos Architecture German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Piece. Culture: Flemish. Dimensions: L. 11 x W. 12 inches (27.9 x 30.5 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece 16th-17th century Italian. Piece 223385

Portrait of John Lane John Singleton Copley (American, 1738-1815). Portrait of John Lane, ca. 1770. Oil on canvas, 49 5/8 x 39 1/2 in. (126 x 100.3 cm). American Art ca. 1770

Piece 19th century Japan (Shiga). Piece 70423

Attic Black-Figure Amphora Fragment (comprised of 2 joined fragments). Unknown

Pastiche. Culture: Nasca. Dimensions: W. 30 x D. 46 1/2 in. (76.2 x 118.11 cm). Date: 7th century (). Museum: Metropolitan Museum of Art, New York, USA.

The Last Supper (Ultima Cena) Pseudo-Jacopino di Francesco (Italian, Bolognese School, ca. 1325-1350/60). The Last Supper (Ultima Cena), ca. 1325-1330. Tempera and tooled gold on poplar panel, 7 11/16 x 14 in. (19.5 x 35.5 cm). European Art ca. 1325-1330

Tapestry Fragment with Plumed Figure. Culture: Lambayeque (Sicán). Dimensions: Overall: 5 1/4 x 7 1/2 in. (13.34 x 19.05 cm)Other: 5 1/4 in. (13.34 cm). Date: 9th-13th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment. Dimensions: H. 5.1/2 in. (14 cm)W. 7.1/4 in.(18.4cm). Date: 9th-10th century. Museum: Metropolitan Museum of Art, New York, USA.

The Sisters Abbott H. Thayer (American, 1849-1921). The Sisters, 1884. Oil on canvas, 54 5/16 x 36 1/4 in. (138 x 92.1 cm). The women in this portrait were Bessie (left) and Clara Stillman, the sisters of the powerful financier James Stillman. Abbott Handerson Thayers biographer, Nelson C. White, recorded an anecdote about his own experience of viewing this painting at an exhibition in 1922: “I was looking at the picture when two elderly women came and stood before it. As I glanced from the canvas to their faces I suddenly realized that they were the subjects of the portrait. Thayer had rendered their character in their youth with such insight and feeling that the likenesses survived the modulations of age and easily identified them.” American Art 1884

Piece. Culture: Italian. Dimensions: L. 7 1/2 x W. 5 3/4 inches (19.1 x 14.6 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Panel 4th century. Panel 445926

Portrait of a Woman Robert Feke (American, ca.1707-ca.1752). Portrait of a Woman, 1748. Oil on canvas, 49 3/8 x 39 9/16 in. (125.4 x 100.5 cm). The Conservator's Eye An X radiograph of this portrait reveals a compositional change invisible to the naked eye: the elimination of an elaborate blue drape that initially hung from the sitters right shoulder and wrapped around her waist. This hidden feature shows up in the radiograph because Robert Feke used lead white pigment to paint the highlights. Lead is a dense material that absorbs X-rays, causing the highlights to appear white in the radiograph, even where they have been covered with additional paint. The blue color of the draping is visible within the cracks under strong magnification. Feke made this change late in the painting process, but it is unknown if the change was made at the sitters request. American Art 1748

Door with Lanterns John Frederick Peto (American, 1854-1907). Door with Lanterns, late 1880s. Oil on canvas, 49 13/16 x 29 7/8 in. (126.5 x 75.9 cm). American Art late 1880s

Panel 18th century Italian. Panel 217247

Grainy Pavement, from Les Phénomènes. Jean Dubuffet; French, 1901-1985. Date: 1959. Dimensions: 536 × 400 mm (image); 636 × 453 mm (sheet). Lithograph on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Piece. Culture: Italian. Dimensions: L. 25 1/4 x W. 9 1/4 inches (64.1 x 23.5 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: British. Dimensions: L. 26 3/4 x W. 27 1/2 inches67.9 x 69.9 cm. Manufactory: Old Ford. Date: 1760-80. Museum: Metropolitan Museum of Art, New York, USA.

Lazio Roma Rome S. Urbano2. Hutzel, Max 1960-1990 Interior views of 11th c. frescoes, crest of Urbano III, ceiling, crucifix (Medieval core collection) Antiquities: Exterior views of ancient temple adapted to church; sarcophagi, altar, fragments. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Piece. Culture: British. Dimensions: L. 21 x W. 19 inches (53.3 x 48.3 cm). Date: 1847. Museum: Metropolitan Museum of Art, New York, USA.

Portrait of John Lane John Singleton Copley (American, 1738-1815). Portrait of John Lane, ca. 1770. Oil on canvas, 49 5/8 x 39 1/2 in. (126 x 100.3 cm). American Art ca. 1770

A vignette with two flowers after the poem The stars of your tears fall in: Zygmunt Lubicz Zaleski, on a narrow sleep and storm. Tadeusz Józef Makowski, Warsaw Paris Kraków: Centnerszwer I SKA, 1914, p. 79 arranged and decorated. Makowski, Tadeusz (1882 1932), Centnerszwer and S ka, Reiff, A. Heymann

Piece. Culture: French. Dimensions: 20 x 19 1/4 inches (50.8 x 48.9 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Panel late 17th century () Italian. Panel 226573

Portrait of Mlle Fiocre in the Ballet "La Source" (Portrait de Mlle...Eugénie Fiocre: à propos du ballet "La Source") Edgar Degas (French, 1834-1917). Portrait of Mlle Fiocre in the Ballet "La Source" (Portrait de Mlle...Eugénie Fiocre: à propos du ballet "La Source"), ca. 1867-1868. Oil on canvas, 51 1/2 x 57 1/8 in., 166 lb. (130.8 x 145.1 cm, 75.3kg). The first of Edgar Degas’s many works to focus on the ballet, this painting depicts Eugénie Fiocre, a celebrated ballerina, in her role as princess Nourreda in the ballet La Source. The production presented a fantasy of an exotic “Orient,” featuring Mlle Fiocre as (in the words of one writer) “the prettiest blonde houri who ever wore the bonnet and the corset of pearls in the paradise of Muhammad.” The 1866 production at the Paris Opéra—with its elaborate costumes and sets, including the hydraulic-powered running stream and live horse seen in Degas’s painting—astonished audiences and provided fodder for caricaturists, who comp

The Sisters Abbott H. Thayer (American, 1849-1921). The Sisters, 1884. Oil on canvas, 54 5/16 x 36 1/4 in. (138 x 92.1 cm). The women in this portrait were Bessie (left) and Clara Stillman, the sisters of the powerful financier James Stillman. Abbott Handerson Thayers biographer, Nelson C. White, recorded an anecdote about his own experience of viewing this painting at an exhibition in 1922: “I was looking at the picture when two elderly women came and stood before it. As I glanced from the canvas to their faces I suddenly realized that they were the subjects of the portrait. Thayer had rendered their character in their youth with such insight and feeling that the likenesses survived the modulations of age and easily identified them.” American Art 1884

Samtbrokat; Samtbrokat.. Prints. 1912. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

The Martyrdom of Saint Catherine. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: 15 1/2 × 11 1/8 × 1 in. (39.4 × 28.3 × 2.6 cm). Date: ca. 1498. Museum: Metropolitan Museum of Art, New York, USA.

Unknown photographer, ceiling decoration in Baalbek (without date): View. Photo, 13 x 18.3 cm (including scan edges) unbek. Fotograf : Deckenverzierung in Baalbek (ohne Dat.)

Rug or Hanging 19th century China. Rug or Hanging 70449

Lazio Latina Sezze Antiquarium Comunale6. Hutzel, Max 1960-1990 German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Wrijfprent ,, c. 1900 Rubbing. China paper. ink Rubbing. China paper. ink

Attic Black-Figure Vase Fragment. Unknown

Kleinasiatischer Teppich.. Prints. 1912. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

Piece Italian 18th century

Untitled. James Guitet; French, born 1925. Date: 1965. Dimensions: 655 × 360 mm. Etching on white wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Sleeve Band 19th century China. Sleeve Band. China. 19th century. Silk, metallic thread; on silk. Qing dynasty (1644-1911). Textiles-Embroidered

Lazio Roma Velletri Museo Civico di Velletri85. Hutzel, Max 1960-1990 Medieval: Marble tondo of the depositon, early christian sarcophagus. Antiquities: Roman;statue of Athena, male and female sculpture fragments- heads, torsos, marble cinerary urn; cippi with inscriptions inscriptions, altars, sarcofagi, sarcofagus with scenes of the feats of Herakles. Etruscan; votive objects, heads, legs feet, eyes, uterus, intestine , animals; bronze objects Architectural sculpture and fragments; relief of procession pottery fragments, lamps; brickstamps. Object Notes: The Museo Civico is housed in the Palazzo Comunale. There are two Hutzel photo campaign notes, one undated and the other November 9, 1985. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects

Emilia-Romagna Ferrara Pomposa Abbazia di Pomposa, Museo65. Hutzel, Max 1960-1990 Medieval: Fragments: capitals (Byzantine, 6th century), also capitals carved with human faces; marble friezes (10th century, later inscriptions); cornices, (with spolia) 11-12th centuries; ciborium; frescos. Post-medieval: Terracotta statuary, "neo-classical" (Hutzel); frescos: Bolognese, 14th century Antiquities: Amphora; grave monuments German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Morocco Fès Attarin Medersa Unpublished image 1. Swaan, Wim. 1967 or earlier Photographic production materials for Morocco: Marrakesh, Fez, Rabat Photographs of architecture were selected and digitized from these materials. Portraits, ethnographic images, and images of museum objects were excluded. Digital images are arranged geographically, first by country, then by city, then by site complex or monument, with all names in alphabetical order. Location names are derived from the Getty Thesaurus of Geographic Names (TGN)®, Library of Congress subject headings, and scholarly publications. Published images are followed by unpublished images. Versos of prints and slide mounts were not digitized. The information in any handwritten identifications found on these surfaces was incorporated into the metadata for individual images. All digital images are cropped to the edge of the frame and are not color-corrected. Photographic production materials for Morocco: Marrakesh, Fez, Rabat is a small p

Panel 18th century European. Panel 230694

Fragment. Dimensions: 26 3/16 in. high 15 3/4 in. wide (66.5 cm high 40 cm wide). Date: 3rd-4th century. Museum: Metropolitan Museum of Art, New York, USA.

Girl with Apple William Glackens (American, 1870-1938). Girl with Apple, 1909-1910. Oil on canvas, 39 7/16 x 56 3/16 in. (100.2 x 142.7 cm). Is this a modern Eve about to take a bite of the apple William Glackens certainly counted on his viewers to make that association. Many of his models were young women earning their living in New York by entering the workforce in an expanding labor market. Glackens offered a fresh American update on the subject of the nude studio model by including a modern woman and fashionable contemporary attire. In paraphrasing one of France’s most famous paintings, Édouard Manet’s Olympia, he also aligned this work with one that was daring in its own time. American Art 1909-1910

Attic Black-Figure Skyphos Fragment. Unknown

Umbria Terni Amelia Palazzo Venturelli3. Hutzel, Max 1960-1990 Post-medieval: Palazzo built by Cardinal Venturelli in 15th century by Antonio da Sangallo on remains of a roman palace from 1st century B.C. Roman mosaic floor. Frescoes, stucco decorations. A few exterior views, several views of cellar that focus on mosaic floor and many views of Salon of the Venturelli Cardinals, including furniture, floors, ceiling, and frescoes. General Notes: No entry for Palazzo Venturelli in TCI; information from Hutzel's notes and attributions. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Ital

Campania Caserta Carinola Cathedral9. Hutzel, Max 1960-1990 Medieval: 11th c. architecture, architectural sculpture, sculpture, mosaics, cosmati tiling, fresco paintings. Post-medieval: Fresco painting, paintings, sculpture Antiquities: Sculpture, sculptural relief German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Relief fragment, tomb of Meketre ca. 1981-1975 B.C. Middle Kingdom. Relief fragment, tomb of Meketre. ca. 1981-1975 B.C.. Limestone, paint. Middle Kingdom. From Egypt, Upper Egypt, Thebes, Southern Asasif, Tomb of Meketre (TT 280, MMA 1101), MMA excavations, 1920. Dynasty 12

Leaf with windscreen pattern (one of eight identical sheets), Anonymous, 1850 - 1950 decorated paper Japan China paper. Japanese paper. paint (coating). block printing (relief printing process) ornament ~ geometric motifs

Cylinder seal ca. late 2nd millennium B.C.. Cylinder seal. ca. late 2nd millennium B.C.. Hematite. Late Bronze Age. Cyprus or Syria

Piece 18th century Japan. Piece 71402

Lazio Frosinone Anagni Chiesa8. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture, cosmati pavement, fresco fragments. Views of the exterior and interior, especially of the (damaged) frescoes and mosaic floors. Owner: chiesa dei cappuccini German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Stencil of Bird in Waves , 19th century. Cut paper, 12 1/2 x 16 in. (framed). Asian Art 19th century

John Vinall John Mason Furness (American, 1763-1804). John Vinall, ca. 1792. Oil on canvas, 49 5/16 x 39 7/16 in. (125.2 x 100.2 cm). A somewhat mysterious figure whose artistic reputation rests on this single impressive work, John Mason Furness began his artistic career during the 1780s as an engraver in Boston. By 1785, he took up residence, presumably as a painter, in the studio formerly occupied by the famous John Smibert. In light of his substantial skills as a draftsman and engraver, Furness was particularly well suited to paint the respected Boston schoolmaster and cartographer John Vinall (1736 1823). In this striking, crisply drawn, and informal yet imposing portrait, Vinall is shown seated beside a table, on which are displayed his case of drafting implements, a compass, and an unfinished map. American Art ca. 1792

Kesa. Japan. Date: 1801-1825. Dimensions: 43 1/2 x 72 1/2 in. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Lazio Roma Rome S. Croce in Gerusalemme. Hutzel, Max 1960-1990 Medieval: Cosmati pavement, architecture (facade). Post-medieval: Architecture, architectural sculpture, sculpture, frescoes: "Leggenda della Santa Croce," Antoniazzo Romano (attr) & "S. Elena sale al cielo," Corrado Giaquinto; mosaic ceiling in Cappella di S. Elena; coats-of-arms German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Lazio Latina Sermoneta S. Maria Assunta, Cathedral7. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture (13 century), altar (13th century, cosmati), holy water basins. Post-medieval: Sculpture, painting, wall painting Object Notes: Hutzel photo campaign notes are undated. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Fragment. Dimensions: Border: L. 26 1/8 in. (66.3 cm)W. 17 5/8 in. (44.8 cm)Square: L. 10 15/16in. (27.8cm)Storage mount: L. 34 in. (86.4 cm) W. 24 1/2 in. (62.2 cm). Date: 4th-5th century. Museum: Metropolitan Museum of Art, New York, USA.

Scarf. Dimensions: 90 9/16 in. long 26 in. wide (230 cm long 66 cm wide). Date: 4th-5th century. Museum: Metropolitan Museum of Art, New York, USA.

Decorative motif and inscription. unknown, graphic artist

Stencil Japan. Stencil. Japan. Paper. Edo period (1615-1868). Stencils

Madonna, Child and Two Angels Master of Bellpuig (second quarter of the 14th century). Madonna, Child and Two Angels, 1340s. Tempera and tooled silver on poplar panel, 34 1/16 x 31 9/16 in. (86.5 x 80.2 cm). European Art 1340s

Tuscany Siena Montalcino S. Francesco4. Hutzel, Max 1960-1990 Post-medieval: Architecture, architectural sculpture, frescoes German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

The Taste of the Void, from Les Phénomènes. Jean Dubuffet; French, 1901-1985. Date: 1959. Dimensions: 495 × 401 mm (image); 635 × 470 mm (sheet). Lithograph on cream wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Embroidery with Soil, from Les Phénomènes. Jean Dubuffet; French, 1901-1985. Date: 1958. Dimensions: 480 × 355 mm (image); 640 × 450 mm (sheet). Lithograph on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Piece 17th-18th century Japan. Piece 70576

Attic Black-Figure Skyphos Fragment. Unknown

Stencil 19th century Japan. Stencil 70666

Doña María de la Luz Padilla y Gómez de Cervantes Attributed to Nicolás Enríquez (Mexican, active 1730-1768). Doña María de la Luz Padilla y Gómez de Cervantes, ca. 1735. Oil on canvas, Oval: 35 3/8 x 26 in. (89.9 x 66 cm). Throughout the Spanish empire and in Europe in general, the lesser nobility and wealthy merchant classes imitated the royal courts in their patronage of the arts, including the commissioning of full-length portraits. Doña María de la Luz (whose adult portrait is also on view in this exhibition) is portrayed here in her Mexico City town house with a toddlers rattle and a silver-mounted coral pacifier. Despite her young age, the sitter wears an embroidered silk dress in the height of French fashion complemented by a costly pearl necklace and matching earrings and bracelets. In Spanish America, the early eighteenth century saw the rise of the female portrait, which had been nearly nonexistent in seventeenth-century Mexico and Peru. The painting of John Van Cortlandt,

THEMIS Images as Art #16

Attic Black-Figure Nicosthenic Amphora Fragment. Unknown

Marches Urbino Palazzo Ducale, Galleria Nazionale delle Marche10. Hutzel, Max 1960-1990 Post-medieval: First floor: Polyptychs, triptychs, crucifixes, panel paintings, sculpture, frescoes now housed in Museo; stucco decoration in private chapels Object Notes: See also Urbino, Museo Albani. With both sites the negs arrived separately from the prints, yet all negs were labelled as Urbino, Palazzo Ducale, making it difficult to match some negatives to their prints. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Piece 18th century Japan. Piece. Japan. 18th century. Silk, metallic thread. Edo period (1615-1868). Textiles-Woven

Stencil 19th century Japan. Stencil 69352

Skirt for a Married Woman, 20th century, Guancho Diarra from village of Kolokani, 62 1/4 x 35in. (158.1 x 88.9cm), Cotton; stripwoven mudcloth (bogolanfini); dyed, Mali, 20th century

Fragment. Culture: Greek Islands, Cyclades, Naxos. Dimensions: L. 45 x W. 18 3/4 inches (114.3 x 47.6 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Mashrabiyya Screen with Two Gazelles 18th or 19th century Turnedwood screens, called mashrabiyyas, were a characteristic feature of the cityscape of Cairo. Used inside and outside buildings, for balconies, windows, and partition screens, mashrabiyyas were an ideal way to filter the bright sunlight and provide ventilation while maintaining privacy. To make these screens, short pieces of turned wood are inserted into polygonal joints, often at 45-degree angles, creating a lattice. Medieval examples tended to be tightly worked, often with minute inlay. Later mashrabiyyas sometimes introduce a secondary pattern into the lattice pattern, as is the case with the two animals found here.. Mashrabiyya Screen with Two Gazelles. 18th or 19th century. Wood; turned. Attributed to Egypt. Wood

Louvre Museum, A Phoenician Sarcophagus, vintage engraved illustration. Magasin Pittoresque 1855.

Temple relief ca. 2551-2528 B.C. Old Kingdom. Temple relief. ca. 2551-2528 B.C.. Limestone. Old Kingdom. From Egypt, Memphite Region, Lisht North, Pyramid Temple of Amenemhat I, MMA excavations, 1920-22. Dynasty 4

Initial D to the poem Two sisters connect our hands in: Zygmunt Lubicz Zaleski, on a narrow sleep and storm. Tadeusz Józef Makowski, Warsaw Paris Kraków: Centnerszwer I SKA, 1914, p. 45 arranged and decorated. Makowski, Tadeusz (1882 1932), Centnerszwer and S ka, Reiff, A. Heymann

Portrait of a Gentleman School of Francois de Troy (French, 1645-1730). Portrait of a Gentleman. Oil on canvas, 31 1/2 x 25 1/2 in. (80.0 x 64.8 cm). European Art

Lazio Roma Rome S. Benedetto in Piscinula3. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture, painting, frescoes, intarsia. Post-medieval: Painting, fresco, altarpiece German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museums collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and is associated with two mythological animals devouring humans: an anthropomorphic bird and a shark depicted with a human arm. These composite beings combine animals of the natural world with Nasca supernatural deities who keep the world in order. The panel was converted into a poncho in antiquity, when a head opening was made at the center and long tassels were added at the shoulders. ___________

Dado (France); block-printed on handmade paper; a) 100 x 47 cm (39 3/8 x 18 1/2 in.) b) 102 x 48 cm

Mrs. Elizabeth Smith (née Elizabeth Chew) John Hesselius (American, 1728-1778). Mrs. Elizabeth Smith (née Elizabeth Chew), 1762. Oil on canvas, 28 1/4 x 25 1/8 in. (71.8 x 63.8 cm). American Art 1762

Piece 8th century Japan. Piece. Japan. 8th century. Silk. Nara period (710-794), Tempy (729-749). Textiles-Embroidered

Lazio Frosinone Anagni Palazzo Comunale0. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture, architectural fragments, fresco fragments. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Facsimile painting of a jar from the Tomb of Meketre ca. 1981-1975 B.C. Middle Kingdom Charles K. Wilkinson. Facsimile painting of a jar from the Tomb of Meketre. Charles K. Wilkinson. ca. 1981-1975 B.C.. Tempera on Paper. Middle Kingdom. From Egypt, Upper Egypt, Thebes, Southern Asasif, Tomb of Meketre (TT 280, MMA 1101). Dynasty 12

Veils 2. Robert Rauschenberg (American, 1925-2008); published by Universal Limited Art Editions (American, founded 1955). Date: 1974. Dimensions: 466 x 530 mm (image); 566 x 775 mm (sheet). Lithograph, by light transfer, in cool-black on white wove paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Fragment. Dimensions: 18 1/2 in. high 13/16 in. wide (47 cm high 2 cm wide). Date: 6th-7th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment. Dimensions: 8 in. high 10.00 in. wide (20.32 cm high 25.4 cm wide). Date: 4th century. Museum: Metropolitan Museum of Art, New York, USA.

of 2