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The King's Acquaintances Memi and Sabu

Panel with the god Zeus/Serapis/Ohrmazd and worshiper

Funerary relief

Trial Piece Worked on Both Sides

Coffin of Nesykhonsu

Le scribe accroupi

Coffin of Bakenmut

Relief: two servants bearing food and drink

Cloth with Procession of Figures

Cylinder seal with cultic scene

Mural Fragment Depicting a Maguey Bloodletting Ritual

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

White-Ground Lekythos (Oil Vessel): Atalanta and Erotes

Bowl with Inscription, "Sovereignty is God's"

Mural Fragment with Elite Male and Maguey Cactus Leaves

Fragment of a doorpost

Orthostat relief: lion-hunt scene

Feuillet de diptyque en cinq parties : l'Empereur triomphant (Justinien ?)

Red-Figure Stamnos (Mixing/Storage Vessel): Komos (Musicians and Revelers)

Terracotta kernos (vase for multiple offerings)

Openwork furniture plaque with a grazing oryx in a forest of fronds

Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara

Terracotta dinos (mixing bowl)

Funerary Portrait of a Young Girl

Code de Hammurabi

Fragment of a doorpost

Saluting Protective Spirit

Headdress

Black-Figure Hydria (Water Vessel): Frontal Quadriga (Body); Theseus and Minotaur (Shoulder)

Courting flute (siyotanka)

The Wade Cup with Animated Script

The Merry Family

Red-Figure Fish Plate: Octopi, Mullet, Bream, Shellfish

About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.

Fragment of a bowl with a frieze of bulls in relief

Lantern for a Lamp

Ceremonial Hanging (Palepai)

Fragment van een muurschildering

L'Européenne

Buddhist Priest's Ceremonial Robe

Sickle sword

Door lintel with lion-griffins and vase with lotus leaf

An Artisan’s Shop, from the album The Mist of Sandara (Sandara kasumi)

Green Tara

A man, woman, and four winged angels gather and kneel around a nude infant lying on the ground under a stone arched opening set in front of a landscape in this vertical painting. All of the people have pale white or lightly tanned skin. To our left, the woman wears gold-edged, royal-blue robes and has long, curly brown hair. The baby lies on the hem of her robe, his body facing her. An older, balding and bearded man kneels to the right, leaning on a walking stick. He wears a red garment under a green robe, and he holds a hat in his hands as he gazes at the baby. About a third the size of the man and woman, two of the angels kneel between the man and woman and another pair kneel to our left of the woman, seeming close to us. The angels wear colorful gold, pink, red, or yellow robes and all have long wavy blond hair. Their hands touch in prayer and all look down toward the baby. The people are sheltered in front of a crumbling stone wall under a wooden structure. To our left, a cow and donkey are penned in a stable. Two pairs of men stand near or lean on the other side of the rock wall that encloses the scene. A landscape with green rolling hills and a distant town with towers and buildings fills the background beneath a clear blue sky. A triangular structure made of wood beams is framed within the carved archway, which seems to separate us from the space of the painting. The face of the arch looks like it is carved with a nude man atop a column to the left and a similar woman to the right, and with miniature scenes stacked on tiny platforms curving upward to the apex of the arch.

Bronze rod tripod stand

Vase with overlapping pattern and three bands of palm trees

Grafmonument met alliantiewapen en vier kwartierwapens

Palampore

Censer with seated king

Head Fragment

Dagger-axe

Crucifix with Scenes of the Passion

Sleep and Death Cista Handle

Jar with Lion-Head Handles

Ewer

Red-Figure Calyx-Krater (Mixing Vessel): Medea in Chariot (A); Telephos with Baby Orestes (B)

Bridal Robe (Hwarot)

Ceremonial Cross of Countess Gertrude

Helmet with divine figures beneath a bird with outstretched wings

The Milkmaid

Covered box decorated with chrysanthemums and waterfowl among lotus

Les Noces de Cana

Furniture support: female sphinx with Hathor-style curls

Animal-Spouted Pitcher

Bell (Lai Zhong)

Study for the Nude Youth over the Prophet Daniel (recto); Figure Studies for the Sistine Ceiling (verso)

Japan; Illustrated book; Illustrated Books

Cult vessel in the form of a tower with cylinder seal impressions near the top

Mandala of the Three Shrines at Kumano

Whistle

Cranes on snow-covered pine

Belt clasp

Corner Railing Pillar with Drinking Scenes, Yakshis, and Musicians

Ornament voor de houten steel van een ge

Christ Carrying the Cross

Sarcophagus

The Dream of the Shepherd (Der Traum des Hirten)

Saint Sebastian

Mask (mbap mteng): Elephant (aka)

"Dancing Dervishes", Folio from a Divan of Hafiz

Youth Playing a Pipe for a Satyr

A Philosopher Watching a Pair of Butterflies, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Cosmetic Jar in the Form of the God Bes

The Night Watch Militia Company of District II under the Command of Captain Frans Banninck Cocq

Center table

Hanger met cachet met de Dood

Bottle with Birds and Peony Scroll

Tánggǔ (堂鼓)

Fan painting with river landscape

St. Catherine of Siena and the Beggar

This horizontal painting is made up of three parts: in the center square panel, a woman reclines under a wooden shelter set into a rocky cave, which is surrounded by angels, and narrower wings to either side are each occupied by a standing man. All the people have pale skin, which is tinged with faint green. The three panels are joined with a gold frame, and the gold background behind the central scene and the men in the side panels are covered with a noticeable network of cracks. In the central panel, a cobalt-blue robe nearly envelopes the reclining woman’s body; this is Mary. It covers her head and falls open where she crosses her wrists over her chest to show a pink garment underneath. A flat gold halo encircles her head ,and her body is surrounded by a field of crimson red, almost like an aura. She rests under a wooden structure with a pitched roof, which is surrounded by craggy, barren rock. A swaddled infant lies in a rectangular, tray-like manger. The infant’s head is also surrounded by a gold halo. Fine gold rays emanate down into the structure from a star just above the peak of the roof. A bull and a donkey look down at the baby from the far side of the manger. The interior of the structure behind them is black. In a smaller scale, two women wash a haloed infant in a tub in front of the rocky cave near the lower left corner of this panel. A man with a white beard and hair sits to our left of Mary, holding a pink cloak at his throat and looking toward the infant. Above and around the rocks, seven winged and haloed angels cluster on each side. One angel to the right presents a scroll with black writing to two men accompanied by a dog and several sheep in the lower right. The man in the panel to the left, Isaiah, has a gray beard and long, wavy hair, and he wears a lilac-purple cloak draped over a coral-orange robe. In his right hand, on our left, he holds an unfurled scroll with large black lettering. His other hand is raised with one finger pointing upward. He looks to our left, away from the central scene. On the right, Ezekiel, echoes Isaiah's pose. Ezekiel holds an open scroll with his left hand, on our right, and his other hand is raised. He also wears a coral-colored robe, but his is overlaid with a blue cloak. His receding hair is short and brown, as is his beard. Like Isaiah, he takes up most of the height of the panel and gazes to our left, toward the central panel.

Close to us, a bearded, balding man leads a donkey carrying a woman and child to our right against a hilly landscape in this horizontal painting. All three people have pale, peachy skin and halos. The man has a gray beard and hair, and wears a royal-blue tunic under a ruby-red robe. He leans on a walking stick and looks back at the donkey. The woman riding the donkey wears a blue and gold brocade-like cloak covering her head and body. She has a straight nose, small pink lips, and she looks toward the infant she holds close to her body. The baby wears a white garment and reaches for the woman’s face with one hand as he turns to look over his shoulder toward us. The path they walk on is lined with grass and detailed plants. A river runs parallel to the path a short distance away. The horizon line comes about two-thirds of the way up the painting is lined with green trees, blue mountains, and a few buildings to our left. Wispy white clouds sweep across an azure-blue sky streaked with peach near the horizon.

Krishna and Balarama Fight the Evil King Kamsa’s Wrestlers: Page from a Dispersed Bhagavata Purana

Copy of The Night Watch

Icon of the Virgin and Child

Pichhwai for the Festival of Cows

Two Ge

A man hangs from a wooden cross at the top center of this vertical painting, with a woman standing at the foot of the cross to our left and a man to our right, all in front of a deep landscape with mountains along a river. All the people have light skin. The feet of the man on the cross, Jesus, line up with the tops of the heads of the people standing below. Jesus hangs by a nail driven through each palm, and his overlapping feet are nailed into a short platform that angles downward. He has shoulder-length brown hair and a short brown beard. His head tips forward, and his eyes are downcast or closed. He has a straight nose, high cheekbones, and his lips are closed. Blood trickles down his forehead from a ring of thorns around his head, from the nails in his hands and feet, and from a short gash over his right ribs, on our left. A white loincloth is wrapped around his hips, and the end of it flutters as if in a breeze to our left. The man’s body is lean but muscular. A slip of paper with the letters “INRI” has been affixed to a small panel on the cross above Jesus’s head. Below and to our left of the cross, a woman stands with her head bowed, looking down with her hands clasped in prayer. Her hair is covered with a tan-colored veil and she wears a gold-edged, navy-blue robe that covers her head and body. She and the cleanshaven, blond man standing to our right of the cross both have bare feet. The man looks up at the cross with his lips parted. His fingers are intertwined and then flipped, palms-down, with his arms straight. His raspberry pink-robe falls over one shoulder and around his hips, over a topaz-blue, ankle-length tunic. The dirt-packed ground on which they stand is lined along the bottom edge of the panel with plants and flowers. The golden-brown land dips beyond the people, leading down to a river that winds into the distance. A castle-like structure perches on cliff-like outcroppings high along the left edge of the painting, and buildings at the foot of that outcropping line the river. Two people walk and one person fishes off a bridge near the town. A few boats, one with full sails unfurled and another possibly with oars out to row, float in the river beyond, which is flanked in the deep distance by mountains painted blue in the haze. The horizon comes about halfway up the composition, crossing the painting just beneath Jesus’s feet. The sky above deepens from pale yellow along the horizon to robin’s egg blue where a few wispy clouds create streaks along the top edge.

Guanyin