Textile Patterns and Techniques

Historical fabric pieces and fragments displaying intricate floral and decorative designs, showcasing elaborate textile artistry.

Abruzzo L'Aquila L'Aquila Museo Nazionale d'Abruzzo03. Hutzel, Max 1960-1990 Tabernacle from S. Maria delle Grotte in Fossa with scenes of the Presentation at the Temple, the Flagellation, the Annunciation, and the Betrayal by Judas. Museo Nazionale housed in Castle: several exterior views (The Archeological Museum is one gallery (Sala IV) of the Museo). Remaining views of museum collection, including paintings, processional crosses, reliquaries, chalices, ceramics, textiles, manuscripts, and a number of eighth century Abruzzan Madonna sculptures. Works from the church Madonna del Soccorso also stored in Museo. Museo Nazionale d'Abruzzo Roman inscriptions, sculpture and 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
Abruzzo L'Aquila L'Aquila Museo Nazionale d'Abruzzo03. Hutzel, Max 1960-1990 Tabernacle from S. Maria delle Grotte in Fossa with scenes of the Presentation at the Temple, the Flagellation, the Annunciation, and the Betrayal by Judas. Museo Nazionale housed in Castle: several exterior views (The Archeological Museum is one gallery (Sala IV) of the Museo). Remaining views of museum collection, including paintings, processional crosses, reliquaries, chalices, ceramics, textiles, manuscripts, and a number of eighth century Abruzzan Madonna sculptures. Works from the church Madonna del Soccorso also stored in Museo. Museo Nazionale d'Abruzzo Roman inscriptions, sculpture and 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
141 assets in this story
4409-17377363
Piece. Culture: British, London. Dimensions: Overall (confirmed): 38 1/8 in. × 12 ft. 1 3/4 in. (96.8 × 370.2 cm). Manufactory: Possibly Bromley Hall. Date: ca. 1780. Museum: Metropolitan Museum of Art, New York, USA.
4409-17499929
Rug fragments. Culture: Spanish. Dimensions: a) L. 23 x W. 14 inches (58.4 x 35.6 cm); b) L. 4 1/4 x W. 4 1/2 inches (10.8 x 11.4 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.
4409-17388521
Piece. Culture: French. Dimensions: L. 30 1/2 x W. 13 inches (77.5 x 33.0 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.
6145-51820033
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
6145-59198720
Abruzzo L'Aquila L'Aquila Museo Nazionale d'Abruzzo03. Hutzel, Max 1960-1990 Tabernacle from S. Maria delle Grotte in Fossa with scenes of the Presentation at the Temple, the Flagellation, the Annunciation, and the Betrayal by Judas. Museo Nazionale housed in Castle: several exterior views (The Archeological Museum is one gallery (Sala IV) of the Museo). Remaining views of museum collection, including paintings, processional crosses, reliquaries, chalices, ceramics, textiles, manuscripts, and a number of eighth century Abruzzan Madonna sculptures. Works from the church Madonna del Soccorso also stored in Museo. Museo Nazionale d'Abruzzo Roman inscriptions, sculpture and 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
6145-59125881
Basilicata Matera Matera Chiesa del Peccato Originale8. 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.
6145-51817733
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
6145-51830189
Mrs. Geromus Johnson William Sidney Mount (American, 1807-1868). Mrs. Geromus Johnson, 1832. Oil on canvas, 34 x 26 15/16 in. (86.4 x 68.4 cm). Mrs. Geromus Johnson William Sidney Mount (American, 1807-1868). Mrs. Geromus Johnson, 1832. Oil on canvas, 34 x 26 15/16 in. (86.4 x 68.4 cm). William Sidney Mount American Art American Art
4409-17409668
Piece. Culture: Italian. Dimensions: L. 17 1/2 x W. 11 1/4 inches (44.5 x 28.6 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.
6145-51827413
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
4409-17556163
Panel. Italy. Date: 1601-1700. Dimensions: 107.7 x 49.5 cm (42 1/2 x 19 1/2 in.)Repeat: 22.2 x 14.3 cm (8 3/4 x 5 5/8 in.). Silk, plain weave with supplementary pile warps forming cut and uncut voided velvet. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.
4409-17501814
Piece. Culture: Italian. Dimensions: L. 61 x W. 43 inches (154.9 x 109.2 cm). Date: 1695-1700. Museum: Metropolitan Museum of Art, New York, USA.
6145-51830092
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
6145-29744834
Fragment 8th century Japan. Fragment 69623
6145-51832424
Portrait of Don Tadeo Bravo de Rivero Francisco de Goya y Lucientes (Spanish, 1746-1828). Portrait of Don Tadeo Bravo de Rivero, 1806. Oil on canvas, 81 1/2 x 45 11/16in. (207 x 116cm). In their formal full-length portraits, Old and New World elites proudly defined themselves through their things. The colonial Peruvian nobleman Tadeo Bravo de Rivero sat for Francisco de Goya y Lucientes wearing the brilliant scarlet uniform of a cavalry officer. The medal of the chivalric Order of Santiago displayed on his lapel points to one of the ways that Creoles (American-born Spaniards) elevated their rank within the empires social and racial hierarchy. At the officers feet is a dog, the traditional symbol of fidelity, suggesting the subjects devotion to his king. European Art 1806
6145-29765194
Piece 18th-19th century Japan. Piece 66886
4409-17552519
Pillow Cover. Belgium, Antwerp or Italy. Date: 1501-1600. Dimensions: . Origin: Belgium. Museum: The Chicago Art Institute, Chicago, USA.
6176-67063906
'Men Ploughing and Digging', c1480 (1945). Artist: Leonardo da Vinci.
6145-29155027
Votive cow plaque ca. 1479-1458 B.C. New Kingdom. Votive cow plaque. ca. 1479-1458 B.C.. Copper. New Kingdom. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Hatshepsut Hole, Debris from the Hathor shrine, MMA excavations, 1923-24. Dynasty 18
6145-29824460
Chasuble of needle lace second half of 17th century Italian, Venice Close analysis reveals that the swath of lace covering this rare chasuble has actually been assembled from over a dozen different pieces of Venetian gros point, arranged to fit the Roman silhouette. Needle lacemaking emerged in Venice in the last decade of the fifteenth century, and its elaborate openwork patterns, defined by negative space, were unlike any textile that had come before. This technique developed out of cutwork, in which a woven linen foundation is traced with a pattern which is then cut out, and stitches are worked back into the voided areas. Eventually this evolved into punto in aria (literally stitches in air”), wherein the base fabric was no longer necessary and the stitches were worked directly onto parchment. Gros point needle lace was perhaps the pinnacle of this technique, with three-dimensional motifs worked so densely that they almost appear to be carved from ivory. The sculptural elements are
6145-51818245
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
4409-17378364
Piece. Culture: Italian. Dimensions: L. 10 1/4 x w. 8 3/4 inches (26.0 x 22.2 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.
6145-59164527
Lazio Roma Rome S. Maria d'Aracoeli4. Hutzel, Max 1960-1990 Medieval: Architecture, sculpture, mosaics, tomb sculpture, fresco painting. Post-medieval: Painting, sculpture, sculptural relief, tomb sculpture, stucco decoration Antiquities: Interior columns 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.
6145-51830331
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
6145-51829201
The Legend of San Augustine Circle Pedro Nolasco y Lara (Peruvian). The Legend of San Augustine, 18th century. Oil on canvas, 65 1/2 x 43 3/4in. (166.4 x 111.1cm). European Art 18th century
4409-17588418
Decoding, from Les Phénomènes. Jean Dubuffet; French, 1901-1985. Date: 1960. Dimensions: 490 × 320 mm (image); 640 × 450 mm (sheet). Lithograph on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.
6145-29141396
Border Tile ca. 1885 J. and J. G. Low Art Tile Works. Border Tile. American. ca. 1885. Earthenware. Made in Chelsea, Massachusetts, United States
6145-29769363
Textile Fragment 7th century. Textile Fragment 447614
6145-44275658
Attic Red-Figure Kylix Fragment. Douris (Greek (Attic), active 500 - 460 B.C.)
6145-51830137
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
4409-17433135
Fragment. Dimensions: 4 1/2 in. high 3 9/16 in. wide (11.5 cm high 9 cm wide). Date: 5th-6th century. Museum: Metropolitan Museum of Art, New York, USA.
4409-17558309
Bedspread. France, Nantes. Date: 1775-1800. Dimensions: 186.1 x 134.6 cm (73 1/4 x 53 in.). Origin: Nantes. Museum: The Chicago Art Institute, Chicago, USA.
4409-17500481
Woven Carpet. Culture: British or French. Dimensions: 241 x 162 in. (612.1 x 411.5 cm). Date: ca. 1850. Museum: Metropolitan Museum of Art, New York, USA.
6145-51826563
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
4409-17354400
Tapestry Fragment with Figure. Culture: Chimú. Dimensions: Overall: 5 x 5 in. (12.7 x 12.7 cm)Other: 5 in. (12.7 cm). Date: 12th-15th century. Museum: Metropolitan Museum of Art, New York, USA.
6145-59196561
Tuscany Siena Montalcino Museo Civico6. Hutzel, Max 1960-1990 Medieval: Entire manuscript. Manuscripts. Post-medieval: Sculpture and ceramics from local workshops (2nd half 12th century; Sienese maiolica; 14th century weapons 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.
4409-17430944
Piece. Culture: Italian, Genoa. Dimensions: L. 182 x W. 122 1/2 inches (462.3 x 311.2 cm). Date: early 18th century. Museum: Metropolitan Museum of Art, New York, USA.
6145-51819911
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
6145-29741936
Piece 1847 British. Piece 229259
6145-51818200
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
6145-29798066
Piece late 16th-early 17th century Italian. Piece 227136
6145-51825686
Forest Scene from the Tale of Nastagio degli Onesti, in Boccaccio's "Decameron" Davide di Tommaso Bigordi, aka Davide Ghirlandaio (Italian, Florentine, 1452-1525). Forest Scene from the Tale of Nastagio degli Onesti, in Boccaccio's "Decameron," after 1483. Tempera on wood panel, 27 1/2 x 53 in. (69.9 x 134.6 cm). In Renaissance Italy, idealized paintings of landscapes were defined by single-point perspective, a compositional device that favored a human view of the world over traditional religious formats. Here, Davide Ghirlandaio organizes his painting around a female nude fleeing amid systematically receding trees. The artist manipulates the Tuscan country-side to create a nearly symmetrical setting for a cautionary tale from Boccaccios Decameron (1348-51). The story tells of a reluctant bride who is hunted and slaughtered by the knight she has rejected, and then suffers the same fate each week as a ghost. The painter uses native umbrella pines to frame the characters in this human
6145-59129256
Campania Caserta Capua Museo Campano92. Hutzel, Max 1960-1990 Medieval: Byzantine architectural fragments; parchment fragments with miniatures (12th century) from Montecassino; painted wooden crucifix (13th century); Carolingian crucifixes; Bishop's miter (11th century) of gold and silver damask; fresco (13th century). Post-medieval: Architecture (15th century). Formerly the Palazzo Antignano. Unusual Catalan/Moorish-style portal; Paintings on panel and canvas (15th-18th centuries); marble intarsia (16th century); marble sculpture: busts of Christ and Mary (17th century); sculpture of saints in marble and in wood (15th century); painted and gilded sculpture in wood; marble grave sculpture (16th century); sarcophagus with allegorical carvings; gold reliquary "Rosa d'Oro"; crucifix made of elephant tusk Specific Location: Pianterreno Antiquities: Italic sculpture (seated women holding babies); inscription. Photo campaign #1: 533 photos. Roman relief and sculpture; cinerary urns; Greek an
6145-44275133
Attic Black-Figure Band Cup Fragment. Painter N (Greek (Attic), active 540 - 520 B.C.)
6145-59185605
Marches Macerata San Ginesio Oratorio di S. Biagio1. Hutzel, Max 1960-1990 Photos of the crypt of the Collegiata. Frescoes show the life of S. Biagio and S. Biagio Vescovo. There are also a Madonna & Child and musical angels. 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.
6145-51830216
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). 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). Unknown American Art American Art
6145-50533667
Bull-Leaping Fresco in palace of Knossos , Archaeological sites, Castles & palaces, Antiquities, Paintings, Palace of Knossos Knossos. Nicholas Catsimpoolas Collection
6145-59142741
Fall and Redemption of Man. unknown c. 1480-1500 Tapestry Dimensions: H 10'2 1/4" x W 12'9" Tapestry Materials/Techniques: wool (warp, 17-18/in.); wool & silk (weft); metallic thread (weft, silver); metallic thread (weft, silver-gilt) Culture: Southern Netherlands Ownership History: Possibly in Emile Gavet coll.; sold, Paris, Galerie Georges Petit, 5/31-6/9/1897; or Hôtel Drouot, 5/8/1906 however, not listed in either sales catalog. Oliver H. Payne coll.; bequeathed to Museum in 1917. United States, New York, New York, The Metropolitan Museum of Art, accno. 17.189. Inscriptions: Inscription in central field, on banderole held by Prophet Zacharias in upper left corner partially legible in photograph: Vinea dabit fructu /.. Inscriptions: Inscription in central field, on banderole held by King Solomon in upper right corner partially legible in photograph: De fractu manuu.. Inscriptions: Inscription in central field, on banderole held by Apostle Paul in lower center partially legible in ph
6145-29763414
Piece early 18th century Italian, Genoa. Piece. Italian, Genoa. early 18th century. Silk. Textiles-Velvets
6145-51817193
Portrait of a Man, said to be Théodore de Bèze Corneille de Lyon (Dutch,1500/10-1575, active in France). Portrait of a Man, said to be Théodore de Bèze. Tempera on panel, 7 x 4 1/2 in. (17.8 x 11.4 cm). European Art
6145-51827692
Don Ignacio Leonel Gómez Cervantes Mexican. Don Ignacio Leonel Gómez Cervantes, 1788. Oil on canvas, 40 1/2 x 32 1/2in. (102.9 x 82.6cm). Painted in two major colonial American centers, these portraits from Boston and Mexico City (then New Spain) share a formality of pose and an emphasis on fine costume that reveal a common source in European portraiture. John Haskins holds his hand on his hip, in a pose of authority found in Elizabethan portraits. Nevertheless, this upright barrel maker known as Honest John Haskins” was a modest patron when compared to his wealthy and ambitious Mexican counterpart. The inscription at the bottom of Don Ignacio Leonel Gómez Cervantes’s portrait lists honors and inherited titles that explicitly identify him as a descendant of an aristocratic Spanish American family. European Art 1788
6145-50499954
Sidewall (England); marbleized; 57 x 46.5 cm (22 7/16 x 18 5/16 in.)
6145-44294534
One Fragment from an Attic Black-Figure Belly Amphora.. Unknown
6145-29140239
Rubbings of a Scene from the Ramayana 20th century Cambodia. Rubbings of a Scene from the Ramayana. Cambodia. 20th century. Ink on paper. Rubbing
6145-30193183
Panel Made 1701-1725 France. Blue damask silk brocaded with tan, light rose, green, and silver with wool on reverse. .
6145-51829720
Fête champêtre Adolphe Joseph Thomas Monticelli (French, 1824-1886). Fête champêtre, ca. 1865. Oil on panel, 21 7/16 x 26 in. (54.5 x 66 cm). European Art ca. 1865
6145-30182118
Fragment (Border) Made 1701-1800 Iran. Brocaded, twill weave .
6145-51828076
Portrait of a Young Man Giovanni Bellini (Italian, Venetian, active by 1459, died 1516). Portrait of a Young Man, ca. 1480. Tempera with oil glazes on panel, 10 1/2 x 8 3/8 in. (26.7 x 21.3 cm). Sitting in the occhio e mezzo (eye and a half) pose, also known as a three-quarter view, this unidentified young man wears his hair in the Venetian shoulder-length (zazzera) style. His dark cloak and berretto, or cap, and the tenebrous background emphasize his facial featurespale skin, aquiline nose, and full lipsas well as his auburn hair. Bellini places the figure behind a parapet, a compositional device originally derived from Flemish portrait traditions. Demonstrating his great technical facility, Bellini carefully paints a folded sheet of paper, or cartellino, which he signs in Latin. European Art ca. 1480
4409-17382736
Standard (from Sketchbook). Artist: Albert Bierstadt (American, Solingen 1830-1902 New York). Dimensions: 4 3/4 x 7 3/4 x 7/16 in. (12.1 x 19.7 x 1.1 cm). Date: ca. 1891. Museum: Metropolitan Museum of Art, New York, USA.
6145-29153571
Textile Fragment 19th century. Textile Fragment. 19th century. Linen and silk. Attributed to probably Algeria. Textiles-Embroidered
6145-59143709
Game park teeming with animals, including leopard, tiger and peacock, with hunters in left middle distance. unknown unknown Tapestry Dimensions: H 9'8" x W 16'9" Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: unknown
6145-29814540
Border, Fragment () early 18th century China. Border, Fragment () 69536
6145-29803654
Stencil 19th century Japan. Stencil 70689
6145-30194704
Fragment Made 500 CE-1000 Peru. Slit tapestry weave . Moche
6145-51820007
Carp Passing the Dragon Gate , 1368-1644 (possibly). Ink and color on silk, overall: 110 1/2 x 39 3/4 in., 44 in. with rollers. Asian Art 1368-1644 (possibly)
6145-30143750
Dwarf with bagpipe; Commedia dell'Arte figure with guitar, sword and mask; Varie Figure Gobbi Di Jacopo Callot; Various grotesque figures; Dwarfs and iced. Links: Dwarf, seen on the left, with a humpback back, a bagpipe decided. Right: Commedia Dell'Arte figure, seen from the front, a guitar, a hat with two feathers on the head, a mask for the face, a sword on his right side. These two prints, side by side on 1 blade, are part of a series of 21 prints (pressed on 11 sheets, so M..v. The title print always 2 plates per sheet) with grotesque figures; Virtually all those figures are dwarfs, many have been hatched.
6145-59151104
Lazio Latina Terracina Museo Archeologico0. Hutzel, Max 1960-1990 Antiquities: Stone figures, both full-length and busts; ancient altars, sarcophagi, inscriptions and stone fragments from the Temple of Giove Anxur and from the ancient town. Object Notes: Hutzel 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.
6145-29709905
The Dragon In the style of Chen Rong Chinese. The Dragon. In the style of Chen Rong (active 1235-62). China. Hanging scroll, framed; ink on silk. Song (960-1279) or Qing (1644-1911) dynasty (). Paintings
6145-29831502
Roundel 3rd-4th century. Roundel 445859
6145-44273313
Attic Black-Figure Band Cup Fragment. Painter N (Greek (Attic), active 540 - 520 B.C.)
4409-17547808
Panel. France. Date: 1701-1725. Dimensions: 78.8 × 68.6 cm (31 × 27 in.). Origin: France. Museum: The Chicago Art Institute, Chicago, USA.
6145-51827008
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
4409-17460245
Coverlet. Dated: c. 1936. Dimensions: overall: 20.5 x 35 cm (8 1/16 x 13 3/4 in.). Medium: watercolor on paper. Museum: National Gallery of Art, Washington DC. Author: Margaret Stottlemeyer.
6145-29681841
RVD / Royal House photo collection. Palace on Dam Square, Amsterdam. Interior shot. 1976. Amsterdam, Noord-Holland
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Border Tile ca. 1885 J. and J. G. Low Art Tile Works. Border Tile. American. ca. 1885. Earthenware. Made in Chelsea, Massachusetts, United States
6145-51830328
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
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Fragment. Dimensions: 13 9/16 in. high 6 11/16 in. wide (34.5 cm high 17 cm wide). Date: 4th-5th century. Museum: Metropolitan Museum of Art, New York, USA.
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Cover 1837-38. Cover 446149
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Detail of a gypsum model for the decoration of the attic floor of the Pavillon de Turgot.Part of Réunion des Tuileries au Louvre 1852-1857, album 1.
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Anefo photo collection. Painting by Kees van Bohemia (Wedgwood prize 1966), Homage to Floyd Patterson. January 17, 1966
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Daniel's Copy-Book: Or, a Compendium of the Most Usual Hands of England, Netherland, France, Spain and Italy...Together with sundry Portraitures of Men, Beasts, and Birds... Designer: Richard Daniel (British, active 1664). Dimensions: Overall: 7 11/16 x 13 1/8 x 13/16 in. (19.6 x 33.3 x 2 cm). Engraver: Edward Cocker (British, 1631-1675). Published in: London. Publisher: Matthew Collins (British, active 1660-64); Francis Cossinett (British, active 1658-64). Date: 1664. Museum: Metropolitan Museum of Art, New York, USA.
6145-59195605
Tuscany Siena Asciano Casa Corboli6. Hutzel, Max 1960-1990 Secular building dating from 13th-14th cent. In the oratorio are frescoes depicting the 4 seasons and other secular scenes. Antiquities: 2nd century AD polychrome mosaic, mascaron or possible fountain. Two pavement mosaics located in basement of building. They have geometric patterns with linked circles and vegetal rosettes. Four-pointed star, triangle and tongue and dart motifs are located in the border. Squares linked by Solomon's knot. tongue and dart Object Notes: no negatives of Asciano are available, see "Mosaics" for mounted plates. Hutzel photo campaign date: July 17, 1982. General Notes: Mounted photos of mosaics are found in Antiquities as well as Hutzel. Additional material in Marburger collection, see nos. 23-24. 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 doc
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Attic Red-Figure Stamnoid Fragment. Attributed to the Brygos Painter (Greek (Attic), active about 490 - 470 B.C.)
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Fragment with a Pattern of Interlaced Leaves 6th century The monastic community of Bawit, founded in the 300s by Apa (Father) Apollo at a small village, grew to consist of numerous complexes with residences, chapels, and service structures and two large churches profusely decorated with sculptures and paintings, often reused from other sites, all affiliated with the Coptic church. The more important buildings were decorated with courses of sculpted stone freely combining floral and geometric motifs inspired by classical art - rosettes, acanthus leaves, meander patterns - with more recent Christian themes. These sculptural elements, demonstrating the Byzantine love of complex patterning with lush textures, were originally painted in rich, vibrant colors like those surviving in textiles.. Fragment with a Pattern of Interlaced Leaves 446136
1848-53385862
Example of Ottoman art patterns applied on metals
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Sketch of a Ship Seen from the Stern (from Sketchbook). Artist: Albert Bierstadt (American, Solingen 1830-1902 New York). Dimensions: 4 3/4 x 7 3/4 x 7/16 in. (12.1 x 19.7 x 1.1 cm). Date: ca. 1891. Museum: Metropolitan Museum of Art, New York, USA.
6145-29811331
Fragment 17th century Italian. Fragment 230297
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Man Ray's Paintings. Photographs of Marshall Plan Programs, Exhibits, and Personnel
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Fragments of Cartoon for Fresco 'Mercy' in House of Lords. Arm of Central Figure Bearing Cushion, William Dyce (Aberdeen, Scotland, 1806 - 1864)
6145-44294243
Attic Red-Figure Kantharos Fragment. Penthesilea Painter (Greek (Attic))
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Attic Red-Figure Kylix Fragment. Unknown
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Lazio Frosinone Boville Ernica S. Pietro Ispano1. Hutzel, Max 1960-1990 Medieval: Palaeochristian sarcophagus from 4th century, with relief of Nativity and Adoration of the Magi. Mosaic by Giotto. Post-medieval: Architecture, sculpture, frescoes. Structure of romanesque origin, but renovated in the 16th-17th centuries. Statues in niches of S. Peter and S. Paul, by Andrea Bregno. Marble relief of the Holy Family in the manner of Bregno (end 15th century). Frescoes from the end of the 16th century. General Notes: There were two sets of prints now integrated into a single sequence. 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. I
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Panel. Russia. Date: 1801-1825. Dimensions: 176.4 x 90.1 cm (68 3/4 x 35 1/2 in.)Warp repeat: 39.5 cm (15 1/2 in.). Silk, cotton, and gilt- and silvered-metal-strip-wrapped cotton, warp-float faced 7:1 twill weave with supplementary brocading wefts; edged with silk, warp-float faced 7:1 satin weave; lined with cotton, plain weave. Origin: Russia. Museum: The Chicago Art Institute, Chicago, USA.
1746-111926661
The Longmen Grottoes (pinyin) or Longmen Caves, Chinese Buddhist shrines in Henan province, China. Housing tens of thousands of statues of Buddha and his disciples, The images, many once painted, were carved as outside rock reliefs and inside artificial caves excavated from the limestone cliffs of the Xiangshan and Longmenshan mountains. There are as many as 100,000 statues within the 2,345 caves. Dating from the Northern Wei Dynasty in 493 AD
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Stencil 19th century Japan. Stencil 69927
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Portrait of Don Tadeo Bravo de Rivero Francisco de Goya y Lucientes (Spanish, 1746-1828). Portrait of Don Tadeo Bravo de Rivero, 1806. Oil on canvas, 81 1/2 x 45 11/16in. (207 x 116cm). In their formal full-length portraits, Old and New World elites proudly defined themselves through their things. The colonial Peruvian nobleman Tadeo Bravo de Rivero sat for Francisco de Goya y Lucientes wearing the brilliant scarlet uniform of a cavalry officer. The medal of the chivalric Order of Santiago displayed on his lapel points to one of the ways that Creoles (American-born Spaniards) elevated their rank within the empires social and racial hierarchy. At the officers feet is a dog, the traditional symbol of fidelity, suggesting the subjects devotion to his king. European Art 1806
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Map of Kuwait on weathered wood
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Attic Red-Figure Kalpis Fragment. Unknown
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Portrait of a Man, said to be Théodore de Bèze Corneille de Lyon (Dutch,1500/10-1575, active in France). Portrait of a Man, said to be Théodore de Bèze. Tempera on panel, 7 x 4 1/2 in. (17.8 x 11.4 cm). European Art
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Portrait of a Man, said to be Théodore de Bèze Corneille de Lyon (Dutch,1500/10-1575, active in France). Portrait of a Man, said to be Théodore de Bèze. Tempera on panel, 7 x 4 1/2 in. (17.8 x 11.4 cm). European Art