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233,603 | Typically Venetian are the punched grounds against which the forms dance on these frieze sections. More sinuously elegant than reliefs by leading Venetian bronze sculptors of the generation active about 1500–1520—Alessandro Leopardi, Vittore Gambello (known as Camelio), and the Master of the Barbarigo Reliefs—the prese... | Frieze fragment | Sagittarius (section of a zodiac frieze) | 1582 | Bronze | ||
232,175 | Various games of cards and chance, such as lansquenet, faro, quadrille, piquet, and cavagnole, had long been popular entertainment at the French court, where the stakes were high and entire fortunes could be won or lost at the gaming table. Reporting to Empress Maria Theresa on March 18, 1777, the Austrian diplomat Flo... | Side chair | Jean Baptiste Boulard | Side chair (Chaise à la reine) (part of a set) | 1786–87 | Carved and gilded beech; silk damask (not original) | |
232,177 | Various games of cards and chance, such as lansquenet, faro, quadrille, piquet, and cavagnole, had long been popular entertainment at the French court, where the stakes were high and entire fortunes could be won or lost at the gaming table. Reporting to Empress Maria Theresa on March 18, 1777, the Austrian diplomat Flo... | Side chair | Jean Baptiste Boulard | Side chair (Chaise à la reine) (part of a set) | 1786–87 | Carved and gilded beech; silk damask (not original) | |
20,071 | The pottery established at University City, outside of Saint Louis, Missouri, was the brainchild of visionary Edward Gardner Lewis. He sought to experiment with a new approach to women’s education, which included publishing a journal and offering mail-order classes. To launch his pottery enterprise, Lewis lured Taxile ... | Vase | University City Pottery | Vase | 1913 | Porcelain | |
206,589 | On October 7, 1790, many European royals and aristocrats were gathered in Frankfurt to attend the coronation of Leopold II as Holy Roman Emperor. Ferdinand IV (1751–1825), king of Naples, was among those present for this solemn event. Married to the new emperor’s sister, Maria Carolina, Ferdinand was the brother-rin-la... | Drop-front secretary on stand | Adam Weisweiler | Drop-front secretary on stand (secrètaire à abattant or secrétaire en cabinet) (one of a pair) (part of a set) | ca. 1790 | Oak veneered with ebony, amaranth, holly, ebonized holly, satinwood, Japanese and French lacquer panels, gilt-bronze mounts, brocatelle marble top (not original); steel springs; morocco leather (not original) | |
232,176 | Various games of cards and chance, such as lansquenet, faro, quadrille, piquet, and cavagnole, had long been popular entertainment at the French court, where the stakes were high and entire fortunes could be won or lost at the gaming table. Reporting to Empress Maria Theresa on March 18, 1777, the Austrian diplomat Flo... | Side chair | Jean Baptiste Boulard | Side chair (Chaise à la reine) (part of a set) | 1786–87 | Carved and gilded beech; silk damask (not original) | |
20,045 | Steeped in ceramics from birth, Hugh C. Robertson pursued his craft with fierce devotion and a passion for experimentation. From a family of trained English ceramists, he honed his skills in New Jersey before settling in Massachusetts as one of the founders of Chelsea Keramic Art Works and later, Dedham Pottery. Robert... | Vase | Chelsea Keramic Art Works | Vase | ca. 1885–89 | Stoneware | |
253,538 | Man with lyre and staff, woman with lamp, on opposite sides of door | Oinochoe, chous | Terracotta oinochoe: chous (jug) | ca. 430–420 BCE | Terracotta | ||
19,857 | Steeped in ceramics from birth, Hugh C. Robertson pursued his craft with fierce devotion and a passion for experimentation. From a family of trained English ceramists, he honed his skills in New Jersey before settling in Massachusetts as one of the founders of Chelsea Keramic Art Works and later, Dedham Pottery. Robert... | Vase | Hugh C. Robertson | Vase | ca. 1885–89 | Stoneware | |
19,980 | Located in Boston’s North End, the Paul Revere Pottery developed out of a philanthropic venture funded by Helen Osborne Storrow, a prominent Boston philanthropist, for young immigrant women, of mostly Italian and Eastern European descent. The programming centered on readings from literary classics, classes in music and... | Vase | Paul Revere Pottery | Vase | ca. 1908–15 | Earthenware | |
253,348 | On the shoulder, a seated woman, perhaps a goddess, is approached by four youths and eight dancing maidens | Lekythos | Amasis Painter | Terracotta lekythos (oil flask) | ca. 550–530 BCE | Terracotta | |
254,696 | Interior, youth and man | Kylix | Douris | Terracotta kylix (drinking cup) | ca. 480–470 BCE | Terracotta | |
468,230 | The motif of Nine Heroes drawn from Classical, Jewish, and Christian traditions was first mentioned in a French poem in 1312, and soon became a popular theme throughout art and literature in late medieval Europe. Pulled from both history and legend, Hector of Troy, Alexander the Great, and Julius Caesar represented the... | Tapestry | Joshua and David (from the Heroes Tapestries) | ca. 1400–1410 | Wool warp, wool wefts | ||
251,401 | Donkey; keras (drinking horn) | Askos in the form of a lobster claw | Class of Seven Lobster-Claws | Terracotta vase in the form of a lobster claw | ca. 460 BCE | Terracotta | |
256,208 | On the body, obverse, woman with attendant in naiskos (shrine) flanked by youths and women | Loutrophoros | Metope Painter | Terracotta loutrophoros (ceremonial vase for water) | 3rd quarter of the 4th century BCE | Terracotta | |
247,244 | Women at fountain house | Hydria | Class of Hamburg 1917.477 | Terracotta hydria (water jar) | ca. 510–500 BCE | Terracotta | |
256,903 | One side, Hephaistos on a donkey accompanied by satyrs and maenads | Column krater, fragments | Lydos | Fragment of a terracotta column-krater, joins 1997.388a-eee | ca. 560–540 BCE | Terracotta | |
468,232 | The motif of Nine Heroes drawn from Classical, Jewish, and Christian traditions was first mentioned in a French poem in 1312, and soon became a popular theme throughout art and literature in late medieval Europe. Pulled from both history and legend, Hector of Troy, Alexander the Great, and Julius Caesar represented the... | Tapestry | Hector of Troy (?) (from the Heroes Tapestries) | ca. 1400–1410 | Wool warp, wool wefts | ||
247,570 | Interior, satyr and maenad | Kylix | Makron | Terracotta kylix (drinking cup) | ca. 490–480 BCE | Terracotta | |
250,543 | Obverse, return of Hephaistos | Kylix, band-cup | Oakeshott Painter | Terracotta kylix: band-cup (drinking cup) | ca. 550 BCE | Terracotta | |
468,387 | Plates like this were made in sets for use in wealthy homes. The Greek letters at the ends of the cross-shaped monogram may refer to the owner, Theodore A(?). The control stamps on the back of the plate date it early in the reign of the emperor Heraclius (610–41). | Plate | Plate with Monogram | 610–613 | Silver, niello | ||
232,706 | These three vases (58.75.89a, b–.91) were originally accompanied by two additional vases to form a set, or garniture, that was one of the most extraordinary and expensive garnitures produced at Sèvres during the eighteenth century. The boat-shaped vase, known at the factory as a pot-pourri à vaisseau or a pot-pourri en... | Vase | Jean-Claude Duplessis | Vase (vase à tête d'éléphant) (one of a pair) | ca. 1758 | Soft-paste porcelain decorated in polychrome enamels, gold | |
464,376 | In 628–29 the Byzantine emperor Herakleios (r. 610–41) successfully ended a long, costly war with Persia and regained Jerusalem, Egypt, and other Byzantine territory. Silver stamps dating to 613–29/30 on the reverse of these masterpieces place their manufacture in Herakleios’s reign. The biblical figures on the plates ... | Plate | Plate with David's Confrontation with Eliab | 629–630 | Silver | ||
464,379 | In 628–29 the Byzantine emperor Herakleios (r. 610–41) successfully ended a long, costly war with Persia and regained Jerusalem, Egypt, and other Byzantine territory. Silver stamps dating to 613–29/30 on the reverse of these masterpieces place their manufacture in Herakleios’s reign. The biblical figures on the plates ... | Plate | Plate with David Anointed by Samuel | 629–630 | Silver | ||
464,380 | In 628–29 the Byzantine emperor Herakleios (r. 610–41) successfully ended a long, costly war with Persia and regained Jerusalem, Egypt, and other Byzantine territory. Silver stamps dating to 613–29/30 on the reverse of these masterpieces place their manufacture in Herakleios’s reign. The biblical figures on the plates ... | Plate | Plate with the Arming of David | 629–630 | Silver | ||
254,587 | This figure of a seated man playing a harp is among the earliest of the few known Cycladic representations of musicians. With its balanced proportions and engaging sense of movement, it is one of the most accomplished examples. The artist used the limited tools available with great technical skill. The harp’s extremely... | Statuette of a seated harp player | Marble seated harp player | 2800–2700 BCE | Marble | ||
22,275 | This is a rare example of Italian armor decorated with fluted surfaces in the German fashion. Its etched and richly gilt decoration is derived from Christian symbolism and the Bible. The band across the top of the breastplate depicts the Virgin and Child in the center, Saint Paul on the right, and Saint George on the l... | Elements of a light-cavalry armor | Elements of an Italian Light-Cavalry Armor <i>alla Tedesca</i> (in the German Fashion) | ca. 1510 | Steel, gold, copper alloy, leather | ||
468,196 | The high foot and large cup of this elegant work are typical features of chalices used in the early church for the distribution of consecrated wine during the Divine Liturgy (Eucharist). The inscription records a family’s hope for salvation in the afterlife. | Chalice | Chalice | 6th century, 20th century restorations | Silver, parcel gilt | ||
253,006 | Polychrome; Dionysos and female figure. | Vase Fragment | Body of a terracotta vase | 3rd–2nd century BCE | Terracotta | ||
250,747 | This Etruscan pottery style is associated with workshops active in Chiusi and Volterra during the second half of the fourth century B.C. In addition to the duck's body and wings with carefully rendered feathers, each side is decorated with a floating nude female holding a ribbon. On some related pieces, these figures a... | Askos in the form of a duck | Clusium Group | Terracotta duck-askos (flask with spout and handle) | ca. 350–325 BCE | Terracotta | |
251,135 | Woman running with torch and phiale (libation bowl) | Lekythos | Berlin Painter | Terracotta lekythos (oil flask) | ca. 480 BCE | Terracotta | |
254,241 | Obverse, victorious charioteer and the goddess Nike | Column-krater | Nausicaä Painter | Terracotta column-krater (bowl for mixing wine and water) | 2nd quarter of the 5th century BCE | Terracotta | |
254,870 | Obverse, Theseus and the Minotaur | Amphora, Type B | Group E | Terracotta amphora (jar) | ca. 540 BCE | Terracotta | |
255,933 | The herm is a type of monument that takes its name from Hermes, the messenger god, who was also the protector of travelers, communities and houses, entrances and exits, as well as flocks. Herms were typically set up along thoroughfares and boundaries, at gates, and also at tombs. The region of Arkadia was rich in herds... | Herm | Bronze herm | ca. 490 BCE | Bronze | ||
255,465 | Inscribed on underside of bowl, within foot; re-curved loop handles. | Kylix | Silver kylix (drinking cup) | late 4th–mid 3rd century BCE | Silver | ||
255,816 | Obverse, Eros, Amymone, and Poseidon. Reverse, woman and two youths | Pelike | Dechter Painter | Terracotta pelike (jar) | ca. 360–340 BCE | Terracotta | |
254,777 | Interior and exterior, Theseus in Poseidon's undersea palace and his arrival in Athens | Kylix | Briseis Painter | Terracotta kylix (drinking cup) | ca. 480 BCE | Terracotta | |
255,531 | Centaur and bird, snake, and hare | Oinochoe | Andokides Painter | Terracotta oinochoe (jug) | ca. 530 BCE | Terracotta | |
254,943 | Interior: woman. | Kylix | Terracotta kylix (drinking cup) | early 5th century BCE | Terracotta | ||
256,251 | One side, Hephaistos on a donkey accompanied by satyrs and maenads | Column-krater, fragments | Lydos | Two fragments of a terracotta column-krater | 6th century BCE | Terracotta | |
254,871 | Obverse, warrior and inscription: two obols—and hands off | Amphora, Type B | Group E | Terracotta amphora (jar) | ca. 550 BCE | Terracotta | |
22,269 | Del Monte (1541–1614) was a mercenary soldier who at various times served the emperor, the pope, the kings of Spain and France, and the Venetian Republic. This armor dates from the period of del Monte’s service to Venice as captain-general of infantry. It probably was made in Brescia, an armor-making center then under ... | Armor | Armor of Giovanni Battista Bourbon del Monte (1541–1614) | ca. 1590 | Steel, gold, textile, leather | ||
247,105 | This man wears a tunic and over it a toga, the most characteristic Roman dress. The toga, a length of woolen cloth with rounded edges, had been the traditional garment of the Romans for centuries, but by the late first century B.C., it was declining in popularity. As part of his effort to revive ancient values and cust... | Statue of a man, togatus | Marble statue of a togatus (man wearing a toga) | 1st century CE | Marble | ||
240,918 | On the body, Herakles and the Nemean Lion. On the shoulder, lions. | Hydria | Terracotta hydria (water jar) | 2nd quarter of the 6th century BCE | Terracotta | ||
250,246 | Applied decoration: the infant Herakles strangling the snakes, amphora with a lid, Eros holding a torch | Cup | Terracotta cup with appliqués | ca. 150–100 BCE | Terracotta | ||
246,573 | Interior, seated Eros holding a mirror. The rondel is surrounded by a vine wreath. Exterior, A, seated Eros with a mirror approached by a running women holding a rosette chain and a wreath. B: woman seated on a rock holding a wreath and a phiale (libation bowl). | Lekane | Menzies Group | Terracotta lekanis (dish) | ca. 330–320 BCE | Terracotta | |
436,172 | In this pastel and another of 1885–86 (Musée d'Orsay, Paris) Degas explored the expressive potential of a bather doubled-up, snail-like, drying her foot. The blue, yellow, and green harmonies in the two works are typical of many of his bather pastels, but the hues here are more high-keyed. | Drawing | Edgar Degas | Woman Drying Her Foot | 1885–86 | Pastel on buff wove paper, affixed to original pulpboard mount | |
467,396 | The figures of men returning from a hunt on the bottom of this dish closely resemble ones on ivory and bone caskets of the period. | Dish fragment | Fragment of a Glass Dish | 10th century | blue glass, silver stain | ||
254,942 | Interior, satyr with wineskin and drinking horn | Kylix | Terracotta kylix (drinking cup) | ca. 480–470 BCE | Terracotta | ||
254,878 | Obverse, Herakles bringing the Erymanthian Boar to King Eurystheus | Neck-amphora | Antimenes Painter | Terracotta neck-amphora (jar) | ca. 520 BCE | Terracotta | |
436,156 | Of the two versions of this composition in the Museum’s collection, this one is more freely executed, indicating that it was probably made second. Several of the figures in this pastel differ from those in | Drawing | Edgar Degas | The Rehearsal Onstage | ca. 1874 | Pastel over brush-and-ink drawing on thin cream-colored wove paper, laid down on bristol board and mounted on canvas | |
247,192 | Two friezes of hoplites to right. | Alabastron | Late Warrior Frieze Vases | Terracotta alabastron (perfume vase) | ca. 590–570 BCE | Terracotta | |
467,528 | The motif of Nine Heroes drawn from Classical, Jewish, and Christian traditions was first mentioned in a French poem in 1312, and soon became a popular theme throughout art and literature in late medieval Europe. Pulled from both history and legend, Hector of Troy, Alexander the Great, and Julius Caesar represented the... | Tapestry | King Arthur (from the Heroes Tapestries) | ca. 1400–1410 | Wool warp, wool wefts | ||
256,207 | On the body, obverse, woman with attendant in naiskos (shrine) flanked by youth and women | Loutrophoros | Metope Painter | Terracotta loutrophoros (ceremonial vase for water) | 3rd quarter of the 4th century BCE | Terracotta | |
464,439 | Mary, Jesus’ mother, her head covered with a veil and her back to us, is almost lost in the crowd at center. Saint John gently places his hand at her back, protecting her from the clamor of men and horses. Close to the Cross, the Roman centurion Longinus touches his eye, which, according to the Golden Legend, was mirac... | Triptych | Miniature Altarpiece with the Crucifixion | early 16th century | Boxwood | ||
436,171 | This pastel is one of eighteen variants on the composition that Degas made in the late 1880s and early 1890s, a testament to his fascination with replicating and multiplying images. He also repeated forms within the scene: the model’s bent left leg closely echoes the shape and line of her extended arms. | Drawing | Edgar Degas | Woman Drying Her Arm | late 1880s–early 1890s | Pastel and charcoal on light pink wove paper, discolored at the edges | |
252,898 | The glaze on Corinthian vases did not always fuse properly with the body of the vessel and has often peeled off. Only traces remain of the scene on the front of this krater, which shows the marriage of Paris and Helen. The bridal pair stands in a chariot ready to depart, surrounded by four Trojan couples wearing festiv... | Column-krater | Detroit Painter | Terracotta column-krater (bowl for mixing wine and water) | ca. 590–570 BCE | Terracotta | |
437,994 | Degas undertook racing scenes throughout his career, characteristically manipulating his horses and jockeys from one picture to the next. All the figures here appear in earlier works, and some of the poses have pedigrees even more distinguished than the horses: the prancing mount and rider at the center derive from Ben... | Drawing | Edgar Degas | Race Horses | ca. 1885–88 | Pastel on wood | |
206,698 | Giovanni Francesco Susini’s artistic personality has taken shape only in recent years with studies of his formal influences, intellectual training, and technical development.[1] An artist of considerable originality, he carved lifesized marble figures and groups[2] and made highly successful statuettes of his own desig... | Statuette | Giovanni Francesco Susini | Hermaphrodite | 1639 | Bronze | |
248,907 | Interior, archer leading horse | Kylix | Psiax | Terracotta kylix (drinking cup) | ca. 515 BCE | Terracotta | |
436,958 | Isabelle Lemonnier was the daughter of a successful Parisian jeweler and the younger sister of Marguerite Charpentier, whose grand portrait by Renoir is also in the Metropolitan’s collection (07.122). Between 1879 and 1882 Manet made several portraits of Isabelle, of whom he seems to have been fond; in the summer of 18... | Drawing | Edouard Manet | Mademoiselle Isabelle Lemonnier (1857–1926) | 1879–82 | Pastel on canvas | |
207,021 | David surmounts Goliath and, bracing one knee on his shoulder, pulls the giant’s head back by the hair as his sword arm stretches to its apogee for the death blow. Goliath is half-risen from the ground, mouth agape, eyes wide but unfocused, with the stone that felled him still “sunke into his forehead” (1 Samuel 17:49)... | Group | Francesco Fanelli | David and Goliath | 17th century cast | Bronze | |
451,908 | Ceramic house models may have been wedding gifts. This turquoise model’s open courtyard with pierced balustrade and corner roof projections suggests a vernacular building. A festive occasion is depicted, with seated personages holding cups and a couple dancing with raised arms. The role of the turbaned, bearded man on ... | House model | Model of a House with Festive Scene | 12th–early 13th century | Stonepaste; molded, modeled, glazed in transparent turquoise | ||
211,495 | The precise meaning of this bristling elder remains to be determined. Suggestions for his identity have ranged from Aristotle to Moses to a retired pugilist. The work fits within the French academic tradition of modeling heads to express various passions, but which could this belligerent character personify? Barely con... | Bust | Augustin Pajou | Head of a Bearded Elder | 1768 | .1Terracotta on a bleu turquin marble socle | |
444,734 | This glass mouse demonstrates the talent of a Persian glass-blower, who would have taken great pains to carefully produce the anatomical details of this life-sized creature. These types of whimsical forms were admired for their graceful shapes and bright colors, and decoratively displayed within niches of private and p... | Figure | Figure of a Mouse in Deep Blue Glass | probably 19th century | Glass; mold-blown with applied decoration | ||
452,197 | Flowering plants, especially favored by Mughal artists, frequently appear in carpets. Here, the drawing of the flowers and the shading of the leaves are rendered with great care and as naturalistically as possible. Yet nature is disregarded when two unrelated flowers grow from the same stem. | Carpet | Carpet with Irises, Tulips, and Other Flowering Plants | ca. 1650 | Cotton (warp and weft); wool (pile); asymmetrically knotted pile | ||
446,644 | This carpet represents the highest level of production—imperial grade—made with an extremely fine weave and costly materials. It looks and feels like velvet, but the pile is actually pashmina wool, made from the fleece of Himalayan mountain goats. Its decorative style, with its floral forms, is typical of the Mughal em... | Carpet fragments | Fragments of a Carpet with Lattice and Blossom Pattern | ca. 1650 | Silk (warp and weft), pashmina wool (pile); asymmetrically knotted pile | ||
236,643 | Riccio, the artistic voice of the High Renaissance in Padua, specialized in bronze. In the course of composing the monument that was his masterwork, the Paschal Candlestick of 1507–16 in the Basilica of Sant'Antonio, he brought superlative technique and a familiarity with classical motifs to a host of bronze statuettes... | Oil lamp | Andrea Briosco, called Riccio | Rothschild lamp | ca. 1510–20 | Bronze, on a later wood base | |
444,525 | In the medallions decorating this candlestick sits a ruler on a lion‑throne with harpies and attendants, and figures holding a crescent personifying the Moon. Arabic inscriptions around the base and neck wish the owner well and list his princely titles, reinforcing the themes of royal authority and prosperity conveyed ... | Candlestick | Candlestick | late 13th–first half 14th century | Brass; inlaid with silver, gold, and black compound | ||
201,862 | In a legendary contest over divine beauty the Trojan prince, Paris judged Venus the winner. Paris is shown contemplating his choice as he holds the golden apple to be awarded to the goddess as her trophy. The figure’s immaculate nudity, gilded hair, and silver eyes vividly evoke the splendor of classical bronze statuet... | Statuette | Antico (Pier Jacopo Alari Bonacolsi) | Paris | ca. 1518–1524 | Bronze, partially fire-gilt, silver inlay | |
448,443 | Late Antique and Byzantine pyxides generally had flat lids, but the lids covering the cylindrical vessels of this Andalusian group are all domical. Thus, the missing lid of this example would probably have been domical as well. Made principally for the personal use of Umayyad nobility, these containers held precious ar... | Box | Cylindrical Box (Pyxis) | 10th century | Ivory; carved | ||
203,958 | Hercules’ fourth Labor was to drag before King Eurystheus a wild boar that had been wreaking devastation around Mount Erymanthus. This spirited composition divulges some of Lespingola’s experiences in Italy between 1672 and 1675. The figure of Hercules is poised to fling the beast in the same way David is ready to slin... | Statuette group | François Lespingola | Hercules Delivering the Erymanthean Boar to Eurystheus | last quarter 17th century | Bronze | |
207,541 | From hence we went forward to Belle Vue, the finest Situation I have hitherto seen in France—the House perfectly elegant;—it was inhabited by Madame de Pompadour it seems, when in the plenitude of her Power. | Bedside table | Bernard II van Risenburgh | Bedside table (table de nuit) | ca. 1750–56 | Oak veneered with tulipwood and kingwood; gilt-bronze mounts; Sarrancolin marble; silk moiré drawer lining (not original) | |
453,247 | Under the Ottomans, Safavids, and Mughals, steel or silver standards were used in military, royal, and religious ceremonies. The talismanic power of this standard ('alam) is understood through the choice of the inscriptions. On one side, in the centermost circle, the Shi'i prayer venerates the Prophet Muhammad's family... | Standard | Standard | early 18th century | Silver with black inlay | ||
447,256 | This intricately carved tile exhibits a distinctive curving arched shape that identifies it as a muqarnas element. A muqarnas is a stalactite‑like form that often adorns the interior curves of domes, niches, and portals of Islamic buildings. The precise origin of this tile remains unknown, although it is similar to til... | Tile | Tile from a Squinch | second half 14th century | Stonepaste; carved and glazed | ||
209,020 | This group is the sculptor's working model for one of two monumental stone sculptures completed in 1870 and still in the garden of the palace at Fontainbleau. Like Venus, the companion sculpture, Jupiter has no precedent in antique iconography and is apparently the original product of Préault's deeply Romantic imaginat... | Group | Auguste Préault | Jupiter and the Sphinx | 1868 | Tinted plaster | |
206,896 | Like much of the sculpture of the Romantic movement in French art, Préault's work was rejected from the Paris Salons throughout the 1830s and 1840s. Official recognition came after the Revolution of 1848. This plaster group is the working model for the commission of 1867 for the imperial palace at Fontainbleau. | Group | Auguste Préault | Venus and the Sphinx | 1868 | Tinted plaster | |
191,804 | Rodin intended Eve and the towering Adam to flank his monumental bronze doorway, The Gates of Hell. There, the biblical progenitors of humanity would have stood as perpetual witnesses to the consequences of their sin—bodily death and the damnation of souls. As an independent sculpture, Eve is a physical manifesto of re... | Statue | Auguste Rodin | Eve | modeled 1881, cast 1910 | Bronze | |
436,131 | Degas’s interest in the motif of a nude entering the water apparently dates to his student days, when he copied the figure of a man scrambling over a riverbank from an engraving by Marcantonio Raimondi after Michelangelo. This is one of seven pastels in which Degas ventured a modern version of the subject. The woman, h... | Drawing | Edgar Degas | Bather Stepping into a Tub | ca. 1890 | Pastel and charcoal on blue laid paper, mounted at perimeter on backing board | |
253,351 | Upper zone, uncertain scene: chariot surrounded by men and women | Squat lekythos | Eretria Painter | Terracotta lekythos (oil flask) | ca. 420 BCE | Terracotta | |
436,128 | Degas used his fingers, brushes, and sharp implements to smudge, scrape, and polish this pastel, creating a sense of movement and texture, and revealing layers of brilliant color. Black outlines drawn over the pastel emphasize the contrapposto turn of the muscular and monumental nude. The date Degas inscribed on the sh... | Drawing | Edgar Degas | Woman with a Towel | 1894 or 1898 | Pastel on cream-colored wove paper with red and blue fibers throughout | |
464,378 | In 628–29 the Byzantine emperor Herakleios (r. 610–41) successfully ended a long, costly war with Persia and regained Jerusalem, Egypt, and other Byzantine territory. Silver stamps dating to 613–29/30 on the reverse of these masterpieces place their manufacture in Herakleios’s reign. The biblical figures on the plates ... | Plate | Plate with the Presentation of David to Saul | 629–630 | Silver | ||
254,879 | Obverse, Herakles and Triton | Neck-amphora | Medea Group | Terracotta neck-amphora (jar) | ca. 520 BCE | Terracotta | |
437,379 | As a young man, Redon was fascinated with Darwinian biology and enjoyed a close friendship with Armand Clavaud, the curator of the botanical gardens in his hometown of Bordeaux. In late floral still lifes such as this one, the artist demonstrated a naturalist’s sense of wonder as well as a richly inventive imagination,... | Drawing | Odilon Redon | Bouquet of Flowers | ca. 1900–1905 | Pastel on paper | |
447,807 | Mahmud 'Abd al-Baqi (1526/27–1600) was a Turkish judge and poet whose most important work is his | Folio from an illustrated manuscript | Mahmud 'Abd-al Baqi | "The Great Abu Sa'ud Teaching Law", Folio from a Divan of Mahmud `Abd-al Baqi | mid-16th century | Ink, opaque watercolor, and gold on paper | |
197,463 | This tureen and stand comprise one of twenty-two such tureens in the most extensive silver service of the second half of the eighteenth century, numbering more than 3,000 items. Catherine the Great commissioned it to be "made in the latest fashion" in Paris. The empress was concerned with the smallest details of the de... | Tureen with cover and stand | Jacques-Nicolas Roettiers | Tureen with cover and stand | 1770–71 | Silver | |
206,557 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Liqueur bottle cooler | Sèvres Manufactory | Liqueur bottle cooler (seau ovale à liqueur) (one of a pair) (part of a service) | 1771 | Soft-paste porcelain decorated in polychrome enamels, gold | |
206,477 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Stand with jam pots | Sèvres Manufactory | Stand with jam pots (plateau à deux pots de confiture) (one of a pair) (part of a service) | 1772 | Soft-paste porcelain | |
206,462 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Stand | Sèvres Manufactory | Stand for ice-cream cup (plateau Bouret) (one of four) (part of a service) | 1771 | Soft-paste porcelain | |
206,458 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Plate | Sèvres Manufactory | Plate (assiette à palmes) (one of four) (part of a service) | 1771 | Soft-paste porcelain | |
206,558 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Liqueur bottle cooler | Sèvres Manufactory | Liqueur bottle cooler (seau ovale à liqueur) (one of a pair) (part of a service) | 1772 | Soft-paste porcelain | |
206,480 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Ice cream cup | Sèvres Manufactory | Ice cream cup (tasse à glace) (one of a pair) (part of a service) | 1771–72 | Soft-paste porcelain | |
206,455 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Plate | Sèvres Manufactory | Plate (assiette à palmes) (one of four) (part of a service) | 1771 | Soft-paste porcelain | |
206,457 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Plate | Sèvres Manufactory | Plate (assiette à palmes) (one of four) (part of a service) | 1771 | Soft-paste porcelain | |
206,454 | This remarkable Sèvres porcelain elephant-head vase is one of six in the Metropolitan Museum of Art, four of which were given by Charles and Jayne Wrightsman (see 1983.185.9 and 1983.185.10, .11). Presumably due to the technical challenges and cost of making these vases, relatively few were produced at Sèvres, all of w... | Vase | Sèvres Manufactory | Elephant-head vase (vase à tête d'éléphant) | 1758–62 | Soft-paste porcelain | |
206,470 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Sugar bowl | Sèvres Manufactory | Sugar bowl with cover (sucrier de Monsieur le Premier) (one of a pair) (part of a service) | 1772 | Soft-paste porcelain | |
206,456 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Plate | Sèvres Manufactory | Plate (assiette à palmes) (one of four) (part of a service) | 1771 | Soft-paste porcelain | |
206,478 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Stand with jam pots | Sèvres Manufactory | Stand with jam pots (plateau à deux pots de confiture) (one of a pair) (part of a service) | ca. 1771–72 | Soft-paste porcelain | |
206,459 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Stand | Sèvres Manufactory | Stand for ice-cream cups (plateau Bourets) (one of four) (part of a service) | 1771 | Soft-paste porcelain | |
206,468 | The table services produced at Sèvres in the eighteenth century were highly prized and extremely expensive. They were not only purchased by the Crown and members of the aristocracy but also given by the king as diplomatic gifts to foreign courts and visiting dignitaries, and the esteem in which they were held did much ... | Fruit dish | Sèvres Manufactory | Fruit dish (compotier coquille) (one of a pair) (part of a service) | 1771 | Soft-paste porcelain |
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