Ancient Textile Fragments

Textile fragments showcasing intricate embroidery and patterns from ancient times, illustrating historical textile craftsmanship.

Printed Piece ca. 1835-40 American or British. Printed Piece 13839

Textile Fragment 8th-9th century. Textile Fragment. 8th-9th century. Silk on cotton. Attributed to Egypt. Textiles-Embroidered

Fragment. Dimensions: 20 1/16 in. high 16 15/16 in. wide (51 cm high 43 cm wide). Date: 3rd-4th century. Museum: Metropolitan Museum of Art, New York, USA.

Portrait of a Young Man Bernardino di Betto, called Pinturicchio (Italian, Umbrian School, ca. 1454-1513). Portrait of a Young Man, ca. 1500. Tempera on panel, 14 9/16 x 10 9/16 in. (37 x 26.8 cm). European Art ca. 1500

Printed Piece ca. 1835-40 American or British. Printed Piece 13839

Fragment. Dimensions: 23 1/8 in. high 18 in. wide (58.8 cm high 45.7 cm wide). Date: 5th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: French. Dimensions: L. 9 1/4 x W. 7 1/4 inches23.5 x 18.4 cm. Date: late 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Width. Culture: British or American. Date: 1820-30. 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

Piece. Culture: French. Dimensions: L. 7 3/4 x W. 3 1/2 inches19.7 x 8.9 cm. Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Tapestry Fragment 10th-15th century Peru; central coast (). Tapestry Fragment 307916

Piece. Culture: Italian. Dimensions: L. 6 x W. 4 5/8 inches (15.2 x 11.7 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: Italian. Dimensions: L. 61 x W. 25 inches (154.9 x 63.5 cm). Date: ca. 1500. Museum: Metropolitan Museum of Art, New York, USA.

Fragment. Dimensions: H. 5 1/2 in.. (14 cm)W. 6 in. (15.2 cm). Date: 13th-14th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece 16th-17th century Italian. Piece 223588

Kosode Fragment Japan. Kosode Fragment. Japan. Ground of white satin damask (rinzu). Edo period (1615-1868). Textiles-Dyed and Embroidered

Textile 18th-19th century Japan. Textile 65023

Piece. Culture: French. Dimensions: L. 13 x W. 4 1/2 inches (33.0 x 11.4 cm). Date: 1760-70. Museum: Metropolitan Museum of Art, New York, USA.

Panel of woven silk, 17th century style. Culture: French or Spanish. Dimensions: L. 82 x W. 84 inches (208.3 x 213.4 cm). Date: probably mid-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Portrait of a Man with Brown Beard Corneille de Lyon (Dutch,1500/10-1575, active in France). Portrait of a Man with Brown Beard, ca. 1545-1555. Tempera on panel, 7 3/4 x 6 3/8 in. (19.7 x 16.2 cm). European Art ca. 1545-1555

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

Sutra Cover 16th-17th century China. Sutra Cover 69835

Piece. Culture: Spanish. Dimensions: L. 26 x W. 10 1/2 inches66.0 x 26.7 cm. Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: French. Dimensions: L. 38 1/2 x W. 17 inches (97.8 x 43.2 cm). Date: 1750-60. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: Italian. Dimensions: 90 x 20 in. (228.6 x 50.8 cm.). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

John Lane, after John Singleton Copley Unknown. John Lane, after John Singleton Copley, ca. 1801-1810. Oil on canvas, 50 x 39 13/16 in. (127 x 101.1 cm). American Art ca. 1801-1810

Saints Margaret and Catherine School of Cologne. Saints Margaret and Catherine, ca. 1460-1480. Oil on linen mounted on panel, 30 1/4 x 18 in. (76.8 x 45.7 cm). European Art ca. 1460-1480

Piece. Culture: Italian. Dimensions: L. 4 x W. 3 3/4 inches (10.2 x 9.5 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Priest's Robe and Stole late 18th century Japan. Priest's Robe and Stole. Japan. late 18th century. Silk, metallic thread. Edo period (1615-1868). Textiles-Costumes

Portrait of a Young Woman Unknown. Portrait of a Young Woman. Oil, 58 1/2 x 48 1/2 in. (148.6 x 123.2 cm). European Art

Piece. Culture: Italian. Dimensions: L. 9 3/4 x W. 8 3/4 inches (24.8 x 22.2 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: Italian. Dimensions: L. 9 5/8 x W. 5 1/4 inches (24.4 x 13.3 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

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

Doña Josefa de la Cotera y Calvo de la Puerta, Marquesa of Rivas Cacho Mexican. Doña Josefa de la Cotera y Calvo de la Puerta, Marquesa of Rivas Cacho, 1816. Oil on canvas, 33 x 25 1/2 in. (83.8 x 64.8 cm). To explain and legitimize their place within the imperial system, the Spanish American elite displayed titles and coats of arms in portraits as proud markers of rank. Here, Mexico Citys Creole (a term used to denote native-born colonials of European, especially Spanish, descent) marquesa of Rivas Cacho, adorned with diamond and pearl earrings, appears beside her familys coat of arms. European Art 1816

Mrs. Sylvester (Abigail Pickman) Gardiner John Singleton Copley (American, 1738-1815). Mrs. Sylvester (Abigail Pickman) Gardiner, ca. 1772. Oil on canvas, 50 3/8 x 40 in. (128 x 101.6 cm). In these two paintings, Abigail Pickman and Elizabeth Goldthwaite sat for their marriage portraits. As was typical of upper-class white women in the colonial United States, they likely did not control how they were represented in these images, which were intended to project the familys stability and wealth. Before the American Revolution, the Boston painter John Singleton Copley was the most sought-after artist in the country. Copleys portraits, highly regarded for their skillful rendering of luxurious items such as silks and pearls, were synonymous with the tastes of the eighteenth-century social elite, both in the United States and England. American Art ca. 1772

Panel. Dimensions: H. 28 in. (71.1 cm)W. 5 3/4 in. (14.6 cm). Date: 4th-5th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: French. Dimensions: L. 9 1/2 x W. 8 1/2 inches (24.1 x 21.6 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Panel from a Skirt. United States or France. Date: 1820-1830. Dimensions: 107.4 x 335.5 cm (42 1/2 x 132 in.)Skirt made up of 4 full width panelsPanel width: 81.4 cm (32 in.). Cotton, plain weave; embroidered in silk, floss in satin, long and short, stem and line stitches; flowers on white ground. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Piece. Culture: French. Dimensions: 6 1/4 x 22 inches (15.9 x 55.9 cm). Date: 1760-70. Museum: Metropolitan Museum of Art, New York, USA.

Umbria Perugia Norcia S. Benedetto. Hutzel, Max 1960-1990 Coverage is of the crypt and crypt paintings, the church exterior, and the nave and altars, but most of the views are of paintings. 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 Parrot from a set of the Italian Village Scenes designed 1734-36, woven 1762 Designed by François Boucher French Images of gardens were popular in the tapestry medium from the medieval era, where the so-called mille-fleurs (thousand flowers) (see also 2013.506) provided a decorative, and sometimes symbolic, setting for scenes of romance and play. Park and garden tapestries continued to enjoy popularity throughout the sixteenth and seventeenth centuries, particularly for the decoration of more intimate chambers, where they provided a pleasant contrast with the grander subject matter of tapestries used in more formal settings. The theme enjoyed new popularity with the advent of the Rococo style during the eighteenth century, and a number of highly decorative landscape and garden series were produced in French and Netherlandish workshops during the second third of the eighteenth century. Among the most notable was the series of romantic pastorals that Boucher designed for the Beauvais

Piece ca. 1760 American. Piece. American. ca. 1760. Cotton, block-printed and resist-dyed. Probably made in England

Piece. Culture: Spanish. Dimensions: Overall: 16 1/4 x 20 1/4 in. (41.3 x 51.4 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

The Waste of Waters is Their Field Albert Pinkham Ryder (American, 1847-1917). The Waste of Waters is Their Field, early 1880s. Oil on panel, 11 5/16 x 12 in. (28.8 x 30.5 cm). Albert Pinkham Ryder based this seascape on a poem by the Englishman Robert Southey that recounted the ocean voyage of a medieval king to the New World: Day after day, day after day the same,— / A weary waste of waters!” Ryder was regarded as a visionary and experimental painter among artists. He often addressed the theme of human destiny, as played out in literature or the Bible. Influenced by modern European art, he rendered his subjects with highly simplified or expressively exaggerated forms and densely textured surfaces that challenged the visual expectations of his American audience. American Art early 1880s

Textile Fragment 5th-6th century. Textile Fragment 444227

Panel wiht Seven Seraphim 17th century Macedonian. Panel wiht Seven Seraphim. Macedonian. 17th century. Silk, metal thread. Textiles-Woven

Tuscany Siena Serre di Rapolano Palazzo di Giustizia3. Hutzel, Max 1960-1990 Medieval: Gothic architecture (restored) and architectural sculpture; fragments of fresco (14th century) Object Notes: Includes attached loggia. 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.

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

Relief Nessus and Dejanira

Piece. Culture: Italian. Dimensions: L. 10 1/2 x W. 3 inches (26.7 x 7.6 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Architecture fragment built at the expense of a piece of wood through the sooty ant, vintage engraving. Architecture fragment built at the expense of a piece of wood through the sooty ant, vintage engraved illustration. Copyright: xZoonar.com/PatrickxGuenettex 10648032

Bas-relief panel from the Mahabharata of a battle scene. A furious melée with chariots, horses, men and monkeys ? or demons. Nakhon Thom Angkor Wat, Cambodia.

Attic Red-Figure Stamnoid Fragment. Attributed to the Brygos Painter (Greek (Attic), active about 490 - 470 B.C.)

Piece. Culture: French. Dimensions: L. 17 x W. 9 1/4 inches43.2 x 23.5 cm. Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment Made 1475-1500 Italy. Simple satin damask .

Strip. Culture: Italian, Venice. Dimensions: L. 67 x W. 3 inches (170.2 x 7.6 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Attic Red-Figure Kylix Fragment (comprised of 3 joined fragments). Douris (Greek (Attic), active 500 - 460 B.C.)

Piece. Culture: British. Dimensions: L. 33 x W. 27 inches83.8 x 68.6 cm. Date: 1848. Museum: Metropolitan Museum of Art, New York, USA.

Woman in Manteau Robert Henri (American, 1865-1929). Woman in Manteau, 1898. Oil on canvas, 58 1/16 x 38 11/16 in. (147.5 x 98.3 cm). Painted in Paris at a time when Robert Henri was determined to make his professional mark as a young artist, this workin a dark, smoky palette deliberately recalling European Old Mastersfeatures his favorite model, Berthe Terrier. Although he intentionally allied his art with revered tradition, Henri also added a contemporary mood by portraying Terrier with a bold, almost defiant expression. X-radiographs reveal that Henri repainted this work extensively as he struggled to capture his model’s anatomy. At an earlier stage (see illustration), the placement of the shawl exposed much more of her shoulders and bust. Such focus on the nude reflects the artist’s early academic training at the Pennsylvania Academy of the Fine Arts, where Thomas Eakins’s Realist tradition was still strongly felt. American Art 1898

Austrian heroic monument, design detail of the wall decoration in the honorary hall drawing

Attic Black-Figure Amphora Fragment. Unknown

Attic Black-Figure Hydria Fragment. Unknown

Triptych: Madonna with Saints and Christ Blessing (Center); The Nativity and the Annunciate Angel (Left Wing); Crucifixion and the Virgin Annunciate (Right Wing) Maso di Banco (Italian, Florentine School, 1341-1346). Triptych: Madonna with Saints and Christ Blessing (Center); The Nativity and the Annunciate Angel (Left Wing); Crucifixion and the Virgin Annunciate (Right Wing), ca. 1336. Tempera and tooled gold on poplar panel in original engaged frame, Center panel: 30 1/8 x 11 3/4 in. (76.5 x 29.8 cm). This folding triptych (a painting on three panels) is filled with multiple figures and scenes meant to inspire devotion and reflection. Because the Virgin appears four times, and Catherine of Alexandria (right) and Mary Magdalene (left) are prominently featured on either side of her in the central image, this triptych may have been of a type primarily intended for use by women at home, perhaps bought or commissioned by husbands to encourage their wives virtuous behavior. European Art

Table Screen China. Table Screen. China. Nephrite. Qing dynasty (1644-1911), Qianlong period (1736-95). Jade

Rush Leaf Bodhidharma Murasaki no Daishin (Japanese, 1650-1730). , early 18th century. Hanging scroll, ink on paper, Image: 33 1/2 x 10 1/4 in. (85.1 x 26 cm). Asian Art early 18th 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

Campania Caserta Santa Maria Capua Vetere Cathedral6. Hutzel, Max 1960-1990 Medieval: Architectural sculpture--capitals. Post-medieval: Built c. 432 by San Simmaco on site of grotto of S. Prisco. Enlarged 787 by Arechi II, an 1666 by Decio del Balzo. Renovated in 1700's and 1884. Architecture, architectural sculpture, Baroque interior, ceiling painting, painting, sculpture 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.

Courtesan in a Window Indian. Courtesan in a Window, 18th century. Washes of watercolor, gold, and ink on paper, sheet: 11 7/8 x 8 3/16 in. (30.2 x 20.8 cm). Asian Art 18th century

Ogee ripple frame. Culture: Austrian, Vienna. Dimensions: 57 x 48.5, 41.2 x 32.6, 43.1 x 34.4 cm.. Date: early 20th century, style ca. 1700. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: British. Dimensions: L. 14 3/4 x W. 18 3/4 inches37.5 x 47.6 cm. Date: 1810-15. Museum: Metropolitan Museum of Art, New York, USA.

Fragment of a Sleeve. Dimensions: 12 1/16 in. high 5 3/16 in. wide (30.7 cm high 13.2 cm wide). Date: 4th-5th century. Museum: Metropolitan Museum of Art, New York, USA.

Madonna and Child Enthroned with Angels Workshop of Bernardino Luini (Italian, Milanese School, circa 1480-1532). Madonna and Child Enthroned with Angels, mid-16th century. Oil on poplar panel, 96 3/4 x 54 1/16 in. (245.7 x 137.3 cm). The Christ Child is depicted holding a glass sphere, which identified him to Renaissance audiences as lux mundi, the light of the world. This painting is a replica, created in the workshop of Bernardino Luini, of the central section of Luinis 1523 altarpiece in the Basilica of San Magno in Legnano (near Milan). It was common in Renaissance Italy for artists and their studios to produce copies of their celebrated works for private clients and churches. Small incision marks (only visible when seen illuminated from one side, at an oblique angle) suggest that this composition was based on the same preparatory drawing as the original altarpiece. European Art mid-16th century

Tuscany Siena Montalcino S. Agostino81. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture (14th century). Post-medieval: Frescoes (12th century) depicting saints, life of S. Agostino, the resurrection General Notes: When these negatives were sent there was confusion with identifying these prints and negatives and those of S. Antimo. Some intermingling MAY still exist. 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.

Red-Figure Cup Fragment; Attributed to Onesimos (Greek (Attic), active 500 - 480 B.C.), and signed by Euphronios (Greek (Attic), active 520 - 480 B.C.); Athens, Greece; about 490 B.C; Terracotta; 10 × 11.2 × 2 cm (3 15,16 × 4 7,16 × 13,16 in.)

Attic Red-Figure Kylix Fragment. Unknown

Bliżej Kultury unknown

Lazio Roma Rome SS. Giovanni e Paolo, Museum14. Hutzel, Max 1960-1990 Medieval: Ceramic fragments, sculptural fragments, fresco fragments, inscribed tomb markers. Houses one of the best collections of Malagan medieval ceramics for casting wall monuments, copies of which are housed in campanile. Specific Location: Museum Antiquities: Ceramic fragments, sculptural fragments, architectural fragments Object Notes: Basilica has separate record and is filed separately. 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.

Decorated ceiling with flowers in one of the Shinto temples in Nikko, Japan, c. 1890 - In or Before 1903 photograph This photo is part of an album. Nikko paper. photographic support albumen print temple, shrine ~ Shinto. interior of the house. (decorated) ceiling Nikko

Attic Black-Figure Vase Fragment. Unknown

Letitia Wilson Jordan Thomas Eakins (American, 1844-1916). Letitia Wilson Jordan, 1888. Oil on canvas, 59 15/16 x 40 3/16 in. (152.3 x 102 cm). Letitia Wilson Jordan was the sister of Thomas Eakinss friend and student David Wilson Jordan. Eakins had seen her at a party and was so taken with the young woman that he asked her to pose for him in the same outfit she had worn that evening. The thoughtful, distanced expression on Jordans face evidences Eakinss interest in conveying the emotional essence of his subjects. The careful modeling of the sitters body is characteristic of Eakinss unflinching naturalism. American Art 1888

Piece. Culture: French. Dimensions: L. 8 1/4 x W. 7 inches21.0 x 17.8 cm. Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

CRISALIDA - 2005 - TECNICA MIXTA SOBRE PAPEL JAPONES - 50x50 cm. Author: JOSE MARIA SICILIA. Location: GALERIA SOLEDAD LORENZO. MADRID. SPAIN.

Cylinder seal with mythological contest scene late 8th century B.C. Babylonian Although engraved stones had been used as early as the seventh millennium B.C. to stamp impressions in clay, the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These cylinder seals, first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed on lumps of clay that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery no longer extant in any other me

Fragment. Dimensions: 12 3/8 in. high 9 11/16 in. wide (31.5 cm high 24.6 cm wide). Date: 5th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece ca. 1750 French. Piece 223255

Centauress John La Farge (American, 1835-1910). Centauress, 1887. Oil on canvas, 41 15/16 x 35 1/4 in. (106.6 x 89.5 cm). American Art 1887

Panels (2). Culture: Italian. Dimensions: a) L. 31 x W. 24 inches (78.7 x 61.0 cm); b) L. 47 x W. 30 inches(119.4 x 76.2 cm). Date: 15th century. Museum: Metropolitan Museum of Art, New York, USA.

Tuscany Siena Poggibonsi S. Lucchese43. 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.

Paulus De Wind, 'T geklemd.

Fragment (Near East); silk

Sketch of a standing figure ..

Carrying Cloth. Probably central coast, Peru. Date: 1000-1476. Dimensions: 53.3 x 58.4 cm (21 x 23 in.). Plain cloth with tapestry. Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA.

Campania Benevento Sant'Agata de' Goti Chiesa dell'Annunziata0. Hutzel, Max 1960-1990 Medieval: Architecture (13-14th centuries). Post-medieval: Marble portal (1563), with bas-relief in lunette; paintings on panel and canvas; frescos (14-15th centuries) 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.

Table cover with cherub on cloud. unknown c. 1780-1800 Tapestry Dimensions: H 3'10" x W 4'3" Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Aubusson Ownership History: French & Co. Oval-shaped tapestry table () cover with cherub sitting on cloud & holding on to swags of floral garlands It may be a fragment of a wall hanging, made up as a table cover (Cavallo). Fringe surrounds the panel's edges (Soustelle). French & Co. stock sheet missing from archive, 15558

Sago II by John Kuss

Image of a stained glass window in the N.S. station Haarlem in Haarlem.

Christ Blessing Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Christ Blessing, mid 14th century. Tempera and tooled gold on panel, 8 x 9 in. (20.3 x 22.9 cm). Previously known only through a nineteenth-century engraving, this panel was discovered at a country auction in Dorset, England, in March 2000. Scholars then identified the panel as the missing pinnacle of Nardo di Ciones altarpiece Madonna and Child with Saints Zenobius, John the Baptist, Reparata, and John the Evangelist, on view nearby. As the pinnacle to the larger panel, Christ Blessing would have been located directly above Madonna and Child with Saints. European Art mid 14th century

Fragment 18th century German. Fragment 215622

Piece. Culture: French. Dimensions: L. 13 x W. 11 inches (33.0 x 27.9 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Textile Fragment 9th-10th century. Textile Fragment. 9th-10th century. Linen, silk; plain weave, embroidered. Attributed to Egypt. Textiles-Embroidered

Untitled, from the Mandala Series. Bruce Conner; American, 1933-2008. Date: 1965. Dimensions: 255 x 254 mm (sight). Black fiber-tipped pen, over graphite with compass, on off-white wove paper, laid down on cream card. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

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