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The Night Watch by Rembrandt van Rijn

Internationale Koloniale en Uitvoerhandel-Tentoonstelling te Amsterdam 1883

Wilhelmina Koningin der Nederlanden

De Kroonprins van Oranje in de Slag bij Waterloo 1815

Koning Willem III in de Frans-Duitse Oorlog 1870

Vijfentwintigjarig regeringsjubileum van Koning Willem III 1874

Vijfentwintigjarig regeringsjubileum van Koning Willem III 1874

Wilhelmina Koningin der Nederlanden

Brandspuitpenning van Amsterdam, wijk 7 nummer D4

Engelse penning op het huwelijk van de Prince of Wales met Alexandra van Denemarken 1863

The great Jewish bride

Grensafbakening in Yperen 1777

Copy of The Night Watch

Portret van Dirk III, graaf van Holland

Draagteken van de Illustere Lieve Vrouwen Broederschap te 's Hertogenbosch

Cabinet Decorated with Episodes from the Parable of the Prodigal Son

Graven en gravinnen van Holland

The Merry Family

Grafmonument met alliantiewapen en vier kwartierwapens

Shown from the waist up, an older man with pale, peachy skin looks out at us with deep-set, gray eyes under a furrowed brow, in front of a sable-brown background in this vertical portrait painting. His body is angled to our left, and his face turns to us. He has a faintly pink, bulbous nose, and his slightly sunken cheeks are shaded with gray. His peach-colored lips are framed with a wispy, gray mustache and goatee. Bronze-orange lines are incised within the battleship gray of his hair to create soft curls under his brown beret, which has gold trim around the base. The dark collar of his fawn-brown coat is turned up so his neck is covered. He is lit from the upper left, so his body and the right side of the painting are deeply shadowed. On our left, the canvas is painted with blended strokes of tawny and dark brown. His dark coat blends into the background, and his folded hands are in shadow in the lower left corner. The brushstrokes are visible in some areas, especially in the man’s face. The painting is signed and dated next to his shoulder, to our left, “Rembrandt f. 1659.”

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

Unidentified Woman

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

Standing Officer Holding a Boar's Spear

The Submersion of Pharaoh's Army in the Red Sea

Relief: two servants bearing food and drink

The great Jewish bride

Gedicht op de zilveren bruiloft van Ludolph Simon de With en Maria de Wit, 15 augustus 1771

Satyress and Child

Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara

Donderbus buitgemaakt op Lombok in 1894

Belt clasp

Youth Playing a Pipe for a Satyr

The Wade Cup with Animated Script

Graven en gravinnen van Holland

Bell (Lai Zhong)

Christ Carrying the Cross

Duits liefdespenninkje

Helmet with divine figures beneath a bird with outstretched wings

Wall fountain

Margaret of Austria

Portret van Arnulf, graaf van Holland

View of Houses in Delft, Known as ‘The Little Street’

Shown from the chest up, a clean-shaven, pale-skinned man holds one hand to his chest and rests the other on a rug-covered ledge with the other in this vertical portrait painting. The man’s body is angled to our left, and he looks down in that direction with dark eyes under thick brows. Crow’s feet crinkle at the corners of his eyes, and there are dark hollows underneath. Soft jowls hang to create a slight double chin. His thin lips are set in a line over a wide, round chin, which is darkened with a five o’clock shadow. He has chin-length, reddish-blond hair, and straight, wispy bangs sweep loosely across his high forehead. He wears a white chemise under a gold, brocade garment, which is mostly hidden by a slate-blue cloak. The cloak is lined with spotted fur, which is turned over to create a wide collar across his shoulders. The sleeve on his left arm, to our right and closer to us, splits over a dusky-pink sleeve. Two gold buttons on the cloak there are decorated with thistle plants and blossoms. The fingers of his right hand, to our left, are gathered like a closed rose bud at his chest. He wears a gold ring on the index finger of the other hand, which rests on the end of the gray stone ledge so his fingertips brush the tapestry draped there. The man is lit from our left against a black background.

Saint Sebastian

Portrait de l'artiste tenant un chardon

Hanger

The Sampling Officials of the Amsterdam Drapers’ Guild, Known as ‘The Syndics’

A pale-skinned woman sits in a pool of light against a deeply shadowed background in the bottom half of this vertical painting. She sits in the center of the composition, in a heavy wooden armchair next to a bed, which is flanked by two men. The woman wears a rose-pink, fur-trimmed robe draped over a white chemise. A pearl necklace and gold bracelets gleam at her throat and wrists, and her chestnut-brown hair is partially pulled up while curls fall to her shoulders. She looks to her left, our right, at a shadowy bearded man. He wears a turban wrapped in a gold chain, a cloak patterned with shades of bronze, olive green, and rust red, and a sword hangs from his belt. He stands facing our left, stooping slightly to rest his right arm, farther from us, on her chair, and his hand brushes her shoulder. The woman's mouth is open and brow furrowed as she points to the bed with her right hand, to our left. Her other hand holds up the loose neckline of her chemise to cover her chest. The bed is angled slightly away from us, to our left. It is covered with white linens and a mustard-yellow coverlet. A burgundy-red cloth or garment is draped over a bedpost at the foot of the bed. A younger man stands on the far side of the bed with his body angled to our right. He wears an olive-green tunic. A broad, scarlet-red sash is tied around his waist, and a bunch of keys hangs from it. Shoulder-length, light brown hair frames his face. His head tilts slightly to our right, and his hands are clasped at the waist, holding what looks like a black cap. A faint light him behind him creates a soft halo around his body. The top half of the painting is swallowed in deep shadow. The artist signed and dated the painting in the lower right, “Rembrandt. f. 1655.”

John Samuel Sherburne

Interieur van een timmermanswerkplaats

Tánggǔ (堂鼓)

Cabinet

Unidentified Man

View of Venice

Presentation Drawing of "The Statue of Liberty Illuminating the World"

The great Jewish bride

Uma

Shown from the lap up against a dark background, a pale-skinned woman wearing a black dress looks out at us in this vertical portrait. Soft light coming from our left highlights her oval face, the peach blush on her cheeks, and her crisp white collar, cap, and cuffs. Her brown hair is pulled back under the cap that flares slightly over her ears and the wide, lace-trimmed collar covers her shoulders. She has dark eyes, a straight nose, and her pink lips are slightly parted. Her left arm, on our right, rests on a table covered with a rose-red patterned carpet next to two pieces of fruit, perhaps apples, and a book fastened with metal clasps. She rests her other arm on the arm of the wooden chair and holds a deep pink carnation the same color as the carpet. She wears a ring on the third finger of each hand. The artist signed the work with black paint against the dark background near the upper right corner: “Rembrandt. f.1656.”

Ornament voor de houten steel van een ge

Franse button voor juryleden bij onbekende gelegenheid, 1900

Cylinder seal with cultic scene

Code de Hammurabi

Hanger met cachet met de Dood

Raft Cup

Unidentified Man

Bowl with Inscription, "Sovereignty is God's"

Johannes Vermeer. Gezicht op Delft / Vue de Delft / View of Delft / Ansicht von Delft

Fragment van een muurschildering

Dagger-axe

William Henry Harrison

Textile Fragment

Sleep and Death Cista Handle

Hunting and fishing scenes

John F. Gray

Shown from the chest up, a clean shaven, young man with pale, rosy skin and curly, mahogany-red hair, looks at or toward us against a black background in this vertical portrait painting. His body is angled to our left, and he turns his face slightly to look our way with sienna-brown eyes under curved eyebrows. He has a long, prominent nose and small thin pink lips. His shoulder length hair curls tightly around his face and covers his ears. He wears a tomato-red shirt with a high collar trimmed with white.

Palampore

Shown from the waist up, a light-skinned man sits sideways in a wooden chair so the arm closer to us rests along the chair’s back in this vertical portrait painting. Brushstrokes are visible throughout, especially in the clothing and hair. The man’s right arm, to our left, drapes across the back of the chair. His face turns slightly to our right, and he looks at us with gray eyes under black, curving brows. He has an oval face with high cheekbones and a snub nose. His coral-pink lips are closed and framed by a mustache and pointed patch of hair under his lower lip. He is lit from our left so the far side of his face is in shadow. His loose, curly brown hair cascades over his shoulders. He wears a tall black hat with a stiff, wide brim with a black rosette or pompom on the brim to our right side. The hat is tipped slightly to one side so it angles away from us. A flat, stiff, white collar extends from his chin down to his shoulders, and two tassels hang at this throat. The voluminous sleeve along the back of the chair has a gold pattern picked out in loosely painted, swirling, feathered, and flaring lines against a black background. The jacket is unbuttoned along the forearm to reveal a stark white undershirt that is gathered with a narrow ruffle at the wrist. The chair has a crimson-red center framed by wooden rails to each side and along the top. The background is earth brown to our right of the man, and deepens to dark shadows along the left. A coat of arms, the size of the man’s palm, hangs from the back wall. Three black cow heads create an inverted triangle on a gold field. Under the coat of arms the artist inscribed, “AETA SVAE.22 1645.”

Enclosed Valley

James Longstreet

Japan; Illustrated book; Illustrated Books

Jessie Benton Frémont

Edward L. Davenport

Watch

Shown from the waist up, a cleanshaven man with pale, peachy skin, wearing a black cap and a voluminous fur-lined, black cloak, is positioned behind a crimson-red ledge or tabletop in this vertical portrait painting. His head and torso nearly fills the composition. His body is angled to our left, and he looks off in that direction with dark brown eyes under faint eyebrows. His high cheeks are lightly flushed, and he has a pointed nose and a hint of a five o-clock shadow. His soft black cap has flaps that cover his ears. The wide, fur lapels of his black cloak nearly reach his shoulders. The sleeves of the garment beneath has a tan and black checked pattern, and a white undershirt peeks out at his neck and cuffs. A cross hanging from a heavy gold chain has black pearls in the cross of each arm and a teardrop-shaped black pearl hangs from the bottom. The cross has a hand on each short arm, two feet on the long leg, and a red circle at the center. The sitter’s left hand, on our right, rests on the red ledge holding a pair of gloves that are ivory white around the wrist and charcoal gray at the fingers. His right hand, father from us, rests in a loose fist near his other wrist. A folded piece of white paper with black writing lies to our left of the hands. It reads, “NVNQVID NON PAVCITAS DIERVM MEORVM FINIETVR BREVIS.” The background behind the man is mottled with rust brown and steel gray. Gold writing spans the background to either side of the man’s head, reading, “BRIANVS TVKS, MILES, ANO ETATIS EVAE LVII” along the top and “DROIT ET AVANT” below.

Mme. Bidetrenoulleau

Wainscoting with chimneypiece, wallpanels and a portico

Accordion

John Reynolds

Rosewater ewer

Mural Fragment Depicting a Maguey Bloodletting Ritual

Invocation to Love

Fragment of a bowl with a frieze of bulls in relief

The Battle of Waterloo

Basin with Inscribed Figures and Calligraphy

Imperial Red Cross Easter Egg

Charles Meigs

Bahram Gur Arrives at the House of a Merchant, text page (recto); Bahram Gur Slays a Dragon (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), known as the Great Mongol Shahnama

Diego Sarmiento de Acuña, Count of Gondomar, Spain

English Horn