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Hilma af Klint — The Ten Largest — Number 6 Adulthood

Hilma af Klint — The Ten Largest — Number 3 Youth

Hilma af Klint — The Ten Largest — Number 4 Youth

Hilma af Klint — The Ten Largest — Number 2 Childhood

Hilma af Klint — The Ten Largest — Number 8 Adulthood

Hilma af Klint — The Ten Largest — Number 5 Adulthood

Hilma af Klint — The Ten Largest — Number 5 Adulthood

Hilma af Klint — The Ten Largest — Number 10 Old Age

Hilma af Klint - Group IX/UW, No. 25, The Dove, No. 1, 1915

Hilma af Klint — The Ten Largest — Number 9 Old Age

Hilma af Klint - Altarpiece No. 1 Group X

Hilma af Klint "Svanen, nr 17, grupp IX/SUW, serie SUW/UW", 1915. Stiftelsen Hilma af Klints Verk. Photo: Moderna Museet/Albin Dahlström.

Hilma Af Klint - The Swan, No. 12, Group IX/SUW, 1915

Hilma af Klint - Group IX/SUW, The Swan, No. 9, 1915

Hilma af Klint - Group X, No. 2, Altarpiece, 1915

Tree of Knowledge, No. 1

"The Swan, No. 18" by Hilma Af Klint [Venice - 13 October 2013]

Hilma Af Klint Series SUW, No 14 Swan, 1914 -1915

Hilma af Klint - Group IX/SUW, The Swan, No. 7, 1915

Hilma af Klint - The Swan, No. 10, Group IX/SUW, 1915

Water Lilies

Tree of Knowledge, No. 2

Bullfinch and Weeping Cherry (Uso, shidarezakura), from an untitled series of flowers and birds

Improvisation No. 30 (Cannons)

Textile Fragment

Fragment (Dress Fabric)

Grafmonument met alliantiewapen en vier kwartierwapens

Hanger in de vorm van een reukbal

Water Lilies (Agapanthus)

Hilma af Klint - Group IX/SUW, The Swan, No. 1, 1915

Church Bells Ringing, Rainy Winter Night

Poppies, from an untitled series of flowers

A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down, and she looks toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire Latin inscription would read, “virgo concipiet et pariet filium et vocabitur nomen eius emmanuel butirum et mel come dit ut fiat reprobare.” A slender, bone-white column separates her from the angel across from her, along the left edge of the painting. The angel has curly, shoulder-length hair and wears a robe with a gold, floral pattern against a burgundy-red background. Long, golden wings emerge from the shoulder blades and extend off the side of the composition. An open archway just beyond the angel is filled with streaks of flax yellow and burnt orange, possibly representing flames. Some of the walls in the room around the pair are pale olive green and other areas are darker spruce green. There are bands of coral-pink molding and inset panels of patterned mosaics. The flat ceiling of the space immediately over the pair is decorated with checkerboard panels in navy blue, hunter green, brown, and brick red. Gold lines create a ray coming from the ceiling toward the woman. At the back of the space, beyond the column separating the woman and angel, the room extends into an alcove with an arched hallway painted with gold stars against a midnight-blue background. Double doors open at the back of the alcove onto a room with a pale-yellow curtain with a mesh-like trim. We see the pair as if through a stone archway that lines the top and sides of the composition. The upper corners are filled with leafy decorations, as if carved into the stone.

Covered box decorated with chrysanthemums and waterfowl among lotus

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

The Dream of the Shepherd (Der Traum des Hirten)

Une odalisque, dite La grande odalisque

Saint John on Patmos

Pink and Rose

Bowl with Inscription, "Sovereignty is God's"

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei)"

Tea Table

Terracotta dinos (mixing bowl)

The Merry Family

Chrysanthemum and Horsefly, from an untitled series of Large Flowers

Jar with Lion-Head Handles

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjūrokkei)"

Jar with Dragon and Clouds Design

Lilies, from an untitled series of Large Flowers

The Milkmaid

Jewelry Elements

Palampore

Bottle with Birds and Peony Scroll

Mirror with Phoenixes, Birds, Butterflies, and Floral Sprays

Titel: Svanen, nr 13, grupp IX, serie SUW. Konstnär: Hilma af Klint (1862-1944, svenska). Olja på duk utförd 1915. Stiftelsen Hilma af Klints verk.

Bridal Robe (Hwarot)

Mount Fuji with Cherry Trees in Bloom

Reukflacon

Animal-Spouted Pitcher

"Dancing Dervishes", Folio from a Divan of Hafiz

Belt clasp

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

A woman and winged angel, both with pale, peach skin, are situated in a church interior in this tall, narrow painting. To our left, the angel has long, blond, curly hair, smooth skin, and is smiling. The wings are outlined in royal blue, and they blend from blue to green to yellow to crimson. The angel holds one hand, closer to us, up at chest height with the index finger subtly pointing upward. Holding a long scepter in the other hand, the angel angles their body toward the woman to our right. The angel wears a gold jewel and pearl-encrusted crown and a jeweled long, voluminous robe in scarlet-red and shimmering gold brocade. The neck and along the opening down the front are lined with pearls and jewels. The angel looks toward the woman, who wears a royal-blue dress tied with a red belt at the high waist. Her long brown hair is tied back but one tendril falls over her left shoulder, to our right. She kneels facing us with her raised hands facing outward. Her head is tipped a bit to our left, and she looks up and into the distance to our right with lips slightly parted. She kneels behind a book lying open on a low table. A vase of white lilies and a red cushion lies on the floor in front of the table, close to us. The floor is decorated with people and scenes outlined in black and set into square panels, as if inlaid with wood. The church behind and above the people has a row of tall, narrow arches with bull’s-eye glass windows. A walkway lined with columns runs above the arches, and sunlight comes in through arched windows under the flat wood ceiling. A white dove flies toward the woman on gold lines from a window at the upper left of the painting. Latin words painted in gold capital letters are exchanged between the people. The angel says, “AVE GRA PLENA.” The letters of the woman’s response are painted upside down and backward: “ECCE ANCILLA DNI.”

Fragment textiel

Goblet

Dozens of people form a line starting from an opening in a city wall or building in the background to a rustic shed-like structure close to us, to kneel before a seated woman holding a baby on her lap in this vertical painting. All of the people have pale skin tinged faintly with green. The top edge of the panel is shaped so it has two rounded sections like shoulders leading to a stepped, crown-like form with an inward curving triangle at the top. A nickel-gray, crenelated stone wall of a distant city is nestled into the top, stepped section, with a glimmering gold sky above filling the uppermost triangle. Tile-roofed and domed buildings and a few towers appear densely packed beyond the wall. People on foot and horseback create a line from an arched opening in the wall toward us and to our right. Three of the people on horseback in the distance wear long robes and have gold halos. The line of people winds behind a tall, narrow hill to our right and it continues close to us. Two horses, two camels, and several people wait to the right but our attention is drawn to the trio in the foreground, Mary, Jesus, and Joseph, and the three men near the infant, the Magi. Mary wears a lapis-blue mantle covering her head and shoulders over a petal-pink dress, and she sits on a wooden or stone chest in the center of the painting. Her body faces us but she turns her face to look with pale blue eyes off to our right. In one hand she holds a hexagonal gold vessel that tapers to a flame-like finial. With the other hand, on our left, she supports the blond infant sitting in her lap. He is covered only with a white cloth around his waist, and he looks toward the vessel as he holds up the index and middle fingers of his right hand. To our left and slightly behind Mary, a balding man with white hair and beard and wearing a blue garment under a red robe sits with his head propped in his hand, looking down. His other hand rests on what might be the handle of a crutch or staff. The man, woman, and child have gold halos with what appears to be writing. The three Magi also have gold halos and they all wear scarlet-red shoes. The oldest kneels before Mary and kisses Jesus's feet. He has a long, light gray beard and is balding. He wears a brocade-like gold robe over pale brick-red sleeves. A cleanshaven man with dark brown hair and wrinkles around his mouth kneels to our left as he raises a jewel-encrusted gold crown from his head. He wears a gold and red floral-patterned garment and holds a rounded vessel, also with a flame-like finial. A younger, cleanshaven man with smooth features and shoulder-length, curling blond hair to our right also wears a gold crown. A dagger hangs from the waist of his sky-blue tunic, and his leggings are pale plum purple. Both arms are bent to his hands are held up, and in his right hand, he holds another tabernacle-like gold vessel. The structure to our left houses a donkey and bull munching hay. A gold sunburst floats above the roof, which seems to be built up against the stone wall of a building. The hills and trees beyond the people is painted with pine and moss greens and brown.

Quilt

Morning Glories and Tree-frog, from an untitled series of Large Flowers

Dragon in foliage with lion and phoenix heads

The Adoration of the Magi

Cotton Roses and Sparrow, from an untitled series of Large Flowers

Hanger in de vorm van een tak blauwe regen

Hinds House Window

Tánggǔ (堂鼓)

The Threatened Swan

Cranes on snow-covered pine

Oribe-Type Ewer

Pichhwai for the Festival of Cows

"The Concourse of the Birds", Folio 11r from a Mantiq al-Tayr (Language of the Birds)

Green Tara

Buddhist Priest's Ceremonial Robe

Orpheus

Mount Sainte-Victoire

Hydrangea and Swallow, from an untitled series of large flowers

Christ and the Virgin in the House at Nazareth

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

Goddess Riding a Dragon, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Congressional Presentation Sword with Scabbard of Colonel Marinus Willett (1740–1830)

Waistcoat

A woman sits in the center of this vertical panel painting and gazes down at a baby lying across her lap while two winged angels hold up a red, gold, and black brocade-like patterned cloth behind her. All the people have pale skin, pink cheeks, blond hair, and flat, gold halos. The woman’s body is angled slightly to our right, and she holds her hands crossed over her chest as she gazes down at the baby. The woman has a straight, pointed nose and a small, pink-lipped mouth. Her azure-blue robe covers her head and drapes over much of the crimson-red dress beneath. The edge of the robe and cuff of her dress are trimmed in gold. The baby lies with his arms slightly raised, and he looks up at the woman. His hips and legs are wrapped with sheer white cloth. The angels in the upper corners of the panel both wear robes in the same azure blue of the woman, and the garments have a gold band around the high waist and gold around the neckline. They look at the woman and hold up the cloth that falls behind and under her and the baby.

Mandala of the Three Shrines at Kumano

Fragment van een muurschildering

Blackbook I

Icon of the Virgin and Child

The Wade Cup with Animated Script

Wrestlers in a Circus

The Girl by the Window

Cylinder seal with cultic scene

Center table