Related

Ceremonial Cross of Countess Gertrude
Processional cross
Hanger met ruiter op postament
Hanger
Crucifix with Scenes of the Passion
Makara-shaped Pendant
Hanger in de vorm van een reukbal
Headdress
Pendant in the form of a cock
Jewelry Elements
Plaque with horned lion-griffins
Table Fountain
Figural Pendant
Grafmonument met alliantiewapen en vier kwartierwapens
Pendants and beads
Center table
Congressional Presentation Sword with Scabbard of Colonel Marinus Willett (1740–1830)
Rosewater ewer
Belt clasp
Plaque
Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara
Figure of a Warrior
A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.
Ceremonial Knife (Tumi)
Helmet (Spangenhelm)
Hanger met cachet met de Dood
Dagger-axe
Dung-Chen
Accordion
Helmet with divine figures beneath a bird with outstretched wings
Carpet with Scrolling Vines and Blossoms
Waistcoat
Ornament voor de houten steel van een ge
Pair of Candelabra
Reukflacon
Animal-Spouted Pitcher
Textile Fragment
The Holy Family with Saint John the Baptist and Saint Margaret
Tánggǔ (堂鼓)
Ceremoniële bijl in Ordos-stijl
Bronze rod tripod stand
Hanger op voetstuk met Amphitrite op een dolfijn
Two Ge
This painting depicts a man with light skin, white hair, and a white beard wearing an orange cloth draped over a dark-blue garment with gold embroidery around the shoulder and neckline. He holds two large red keys in his left hand, and a thin, red, cross-topped rod in his right hand. There is a faint outline of a halo around the man's head, which is slightly turned to the right. The background is gold, enclosed within a red, white, and black patterned border.
Knife Sheath
Tea Table
Natural Trumpet in D
Collier met hanger
Altaar van de Rooms Katholieke kerk te Rijsbergen
Watch
Bell (Lai Zhong)
Bowl with Inscription, "Sovereignty is God's"
Censer with seated king
Courting flute (siyotanka)
Buddhist Priest's Ceremonial Robe
Palampore
Brandspuitpenning van Amsterdam, wijk 7 nummer D4
Cylinder seal with cultic scene
L'Européenne
Mask (mbap mteng): Elephant (aka)
Terracotta dinos (mixing bowl)
Helmet (Zukinnari Kabuto)
Ghanti (bell)
The Adoration of the Magi
Fragment (Dress Fabric)
Bridal Robe (Hwarot)
Enthroned deity
Uma
Corset
The Wade Cup with Animated Script
Goblet
Cabinet
Cape
Head of Shiva (lingakosha)
Strand of Beads
Cup with a frieze of gazelles
Seated Amitayus
Guitar
Ensemble
Panel with the god Zeus/Serapis/Ohrmazd and worshiper
This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.
This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.
This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.
Hanger in de vorm van een tak blauwe regen
Arm Band with Man's Head
Icon of the Virgin and Child
Kamānche
Jar with Lion-Head Handles
Openwork furniture plaque with a grazing oryx in a forest of fronds
Standing Four-Armed Shiva
Shown from the waist up, a pale-skinned man with long, honey-blond hair and beard faces us in front of a gold background in this vertical painting. The man has a long face and nose, with closed peach-colored lips, which turn slightly down at the corners. Almond-shaped, hazel-brown eyes under arched brows stare over our left shoulder. His rose-pink robe is covered by a spruce-blue mantle that drapes over the left shoulder, on our right, and wraps around the waist. The robe and mantle are trimmed with gold. His right hand, on our left, is raised with the index and middle fingers extended up. The other hand holds an open book so the pages face us. The top edge of the pages is burnt orange, and the left and right edges are moss green. The side facing us is inscribed in gold letters, “ECO SUM LUX MUNDI.” A halo incised into the gold background surrounds the man’s head, and clusters of five dots in dark red, blue, and black are placed at the top and to either side within the halo. The panel on which this is painted has a five-sided, angular arch on top that frames the man’s head. A border within the frame has a pattern of gray circles and scarlet-red diamonds against a navy-blue band. The border follows the contours of the panel but runs behind the man’s body, as if he stands in front of it. The panel is framed with dark wood.
Imperial Red Cross Easter Egg
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.
Feuillet de diptyque en cinq parties : l'Empereur triomphant (Justinien ?)
Guitar
Clarinet in D
Tile with Floral and Cloud-band Design
Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion
Bassoon
Black-Figure Hydria (Water Vessel): Frontal Quadriga (Body); Theseus and Minotaur (Shoulder)