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akg162909 Paris (Frankreich), Gaumont Palace, Boulevard de Clichy. (Lichtspielhaus der Produktionsgesellschaft Léon Gaumont). Innenansicht: Zuschauerraum mit Vorhang. Foto, undat. (um 1910?). Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.

akg162794 Picasso, Pablo 1881-1973. "Acrobate et jeune arlequin" (Acrobat and young Harlequin), 1905. Oil on canvas, 190.3 × 107.8cm. Merion (Pa), the Barnes Foundation. Museum: Merion (Pa), the Barnes Foundation. Copyright: © Pablo Picasso. This artwork of Picasso is not in the public domain. It is your responsibility to obtain all necessary third party permissions from the copyright handler in your country prior to publication.

akg8909560 Capt. Thomas Hastings. Ruins of Crewkerne Abbey, May 1833Sketches, Vol. 7: Drawings of Devon, Wales, Lakes, etca , 1833. Graphite and pen and brown ink on medium, slightly textured, cream wove paper, 23.8 × 33 cm. Inv. No. B1977.14.2451. New Haven, Yale Center for British Art.

akg260182 Jerusalem (Israel), Temple (built 965-926 BC; rebuilt under Herod the Great c. 20BC). "Orthographia Templi Hierosolymitani (...) ". Engraving, anon. From: B.Lamy (Übers.), Introduction à l'Écriture Sainte où l'on traite tout ce qui concerne les juifs (..), Traduit du latin (..), Lyon (Jean Certe) 1699, p. 71. Paris, private coll. Author: ANONYMOUS.

akg020881 Picasso, Pablo Spanish painter, graphic artist, sculpt. Malaga 25.10.1881 - Mougins 8.4.1973. "Self-portrait". Paris, autumn 1906. Oil on canvas, 90 × 70cm. A.E.Gallatin Collection. Philadelphia, Museum of Art. Museum: Philadelphia, Museum of Art. Copyright: © Pablo Picasso. This artwork of Picasso is not in the public domain. It is your responsibility to obtain all necessary third party permissions from the copyright handler in your country prior to publication. © Pablo Picasso.

akg188605 Baldung, Hans, called Grien, 1484/85-1545. "Nude maiden, looking in the mirror and combing her heir, death beckoning", 1515. Chiaroscuro drawing, pen, heightened white, on brown primed paper, 306 × 204 mm. Berlin, SMB, Kupferstichkabinett. Museum: Berlin, SMB, Kupferstichkabinett. Author: HANS BALDUNG-GRIEN.

alb8909560 Mantua-Mantova (Lombardy, Italy), Palazzo Ducale, Castello S.Giorgio, Camera degli Sposi (frescos, c.1465-74, by Andrea Mantegna; 1431-1506).-Interior view looking northwest: west wall with "Meeting between Ludovico III Gonazaga and his son Francesco", north wall with "Court of Ludovico III".-Photo.

akg4230845 Spätassyrisch, 7. Jahrhundert v.Chr. - Feldzug des assyrischen Königs Assurbanipal gegen das Königreich Elam 653. v.Chr.; Schlacht von Til Tuba. Ausschnitt. - Relief vom Palast des Assurbanipal in. Ninive (Irak). London, British Museum. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte. Author: ANONYMOUS.

akg4539242 Spätassyrisch, 7. Jahrhundert v.Chr. - Feldzug des assyrischen Königs Assurbanipal gegen das Königreich Elam 653. v.Chr.; Schlacht von Til Tuba. Ausschnitt: Ein assyrischer Streitwagen überrollt die am Boden liegenden Elamiter. - Relief vom Palast des Assurbanipal in Ninive (Irak), Südwestpalast, Raum XXXIII. Inv. Nr. 124801.b. London, British Museum. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte. Author: ANONYMOUS.

akg1108449 Letzlingen (Sachsen-Anhalt), Jagdschloß (Baubeginn 1560, 1843 Umbau durch F.A.Stüler u. L.F.Hesse nach den Wünschen König Friedrich Wilhelms IV.)-Außenansicht von Nordosten.-Foto, 2010.

akg7869706 DEFREGGER, FRANZ VON1835 Stronach - 1921 MunichPortrait of a Tirolese Farmer. Oil on canvas. 64 x 51,5cm. Signed and dated lower right: 02 / Defregger. Framed.

alb262507 BURT LANCASTER, GINA LOLLOBRIGIDA and TONY CURTIS in TRAPECIO (1956) -Original title: TRAPEZE-, directed by CAROL REED. English title: TRAPEZE. Portuguese title: TRAPEZIO.

alb481844 JACK NICHOLSON in ALGUIEN VOLÓ SOBRE EL NIDO DEL CUCO (1975) -Original title: ONE FLEW OVER THE CUCKOO'S NEST-, directed by MILOS FORMAN. English title: ONE FLEW OVER THE CUCKOO'S NEST. Portuguese title: UM ESTRANHO NO NINHO.

alb265063 MARLENE DIETRICH. 1933.

alb302104 BURT LANCASTER, GINA LOLLOBRIGIDA and TONY CURTIS in TRAPECIO (1956) -Original title: TRAPEZE-, directed by CAROL REED. English title: TRAPEZE. Portuguese title: TRAPEZIO.

alb294918 JACK NICHOLSON and WILL SAMPSON in ALGUIEN VOLÓ SOBRE EL NIDO DEL CUCO (1975) -Original title: ONE FLEW OVER THE CUCKOO'S NEST-, directed by MILOS FORMAN. English title: ONE FLEW OVER THE CUCKOO'S NEST. Portuguese title: UM ESTRANHO NO NINHO.

alb305237 JACK NICHOLSON and WILL SAMPSON in ALGUIEN VOLÓ SOBRE EL NIDO DEL CUCO (1975) -Original title: ONE FLEW OVER THE CUCKOO'S NEST-, directed by MILOS FORMAN. English title: ONE FLEW OVER THE CUCKOO'S NEST. Portuguese title: UM ESTRANHO NO NINHO.

alb3378990 CANTA! (2016) -Original title: SING-, directed by GARTH JENNINGS. English title: SING.

alb3378992 CANTA! (2016) -Original title: SING-, directed by GARTH JENNINGS. English title: SING.

alb3378995 CANTA! (2016) -Original title: SING-, directed by GARTH JENNINGS. English title: SING.

alb1997282 ALGUIEN VOLÓ SOBRE EL NIDO DEL CUCO (1975) -Original title: ONE FLEW OVER THE CUCKOO'S NEST-, directed by MILOS FORMAN. English title: ONE FLEW OVER THE CUCKOO'S NEST. Portuguese title: UM ESTRANHO NO NINHO.

alb13724789 Peter Paul Rubens/ Minerva protects Pax from Mars ('Peace and War'), 1629-30.Oil on canvas. 203.5 × 298 cm. Museum: NATIONAL GALLERY, LONDRES, UK.

alb15879450 Judith Leyster (Judith Jans Leyster, 28/07/1609-10/02/1660) / Two Children with a Cat, c. 1629, Oil on canvas. Private collection. Height: 61 cm; Width: 52 cm. Museum: Rijksmuseum, Amsterdam, NETHERLANDS.

alb2037220 Johannes Vermeer / 'The Lacemaker', c. 1669, Oil on canvas, 25 x 21 cm. Museum: MUSEE DU LOUVRE, BUDAPEST, France.

alb2036990 Rembrandt Harmenszoon van Rijn / 'Bathsheba in the bath', 1654, Oil on canvas, 142 x 142 cm. Museum: MUSEE DU LOUVRE, BUDAPEST, France.

alb2033417 Domenico Ghirlandaio / 'An Old Man and his Grandson', c. 1490, Tempera on wood, 62 x 46 cm. Museum: MUSEE DU LOUVRE, BUDAPEST, France.

alb2019425 Leonardo Jusepe / 'The Surrender of Juliers', 1634-1635, Oil on canvas, 307 x 381 cm, P00858. Museum: MUSEO DEL PRADO, MADRID, SPAIN. AMBROSIO ESPINOLA. DIEGO MEXIA FELIPEZ DE GUZMAN.

alb2015790 Edgar Degas / 'Dancer in her dressing room', Pastel on paper, 59 x 45 cm. Museum: PRIVATE COLLECTION.

alb2019347 Joseph Mallord William Turner / 'Rain, Steam and Speed (The Great Western Railway)', 1844, Oil on canvas, 91 x 121.8 cm. Museum: NATIONAL GALLERY, LONDRES, UK.

alb2042080 Portait of Antonio Vivaldi (1678-1741), 1723, Oil on canvas. Museum: Museo Bibliografico Musicale, BOLONIA, ITALIA. Author: FRANÇOIS MORELLON DE LA CAVE.

alb2068145 Francisco de Goya y Lucientes / 'The Injured Mason', 1786-1787, Spanish School, Oil on canvas, 268 cm x 110 cm, P00796. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

alb2070721 Pedro Pablo Rubens; Jan Brueghel 'el Viejo' / 'Mary Virgin and Child with Wreath of Flowers and Fruits', 1617-1620, Flemish School, Oil on panel, 79,7 cm x 63,7 cm, P01418. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

alb2070063 José Antolínez / 'The Death of Mary Magdelene', ca. 1672, Spanish School, Oil on canvas, 205 cm x 163 cm, P00591. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

alb2069668 Jacopo Robusti Tintoretto / 'Judith and Holofernes', ca. 1577, Italian School, Oil on canvas, 188 cm x 251 cm, P00391. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

alb2069192 Francisco de Goya y Lucientes / 'Duel with Cudgels', 1820-1823, Spanish School, Mural, 125 cm x 261 cm, P00758. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

alb213942 The Procession to Calvary, 1564, Oil on canvas, 124 cm x 170 cm. Museum: KUNSTHISTORISCHES MUSEUM, VIENA, AUSTRIA. Author: PIETER BRUEGEL THE ELDER.

alb9530575 Group of four men. Date: 1858. Origin: United States. Pencil on off-white wove paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

alb38027 Jan Massys / 'David and Bathseba', 1562, Oil on panel, 162 x 197 cm, INV. 1446. Museum: Musée du Louvre, Dpt. des Peintures, Paris.

alb3717343 Waterloo Bridge, Gray Day. Dated: 1903. Dimensions: overall: 65.1 x 100 cm (25 5/8 x 39 3/8 in.) framed: 84.4 x 120 cm (33 1/4 x 47 1/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: CLAUDE MONET.

alb3718561 A Couple Addressed by a Lute Player. Dated: 1595/1596. Dimensions: plate: 23.9 x 17.1 cm (9 7/16 x 6 3/4 in.) sheet: 39.7 x 27.2 cm (15 5/8 x 10 11/16 in.). Medium: engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: Attributed to Zacharias Dolendo after Jacques de Gheyn II.

alb3710977 Cheval de charrette sorti des Limons. Dated: 1823. Dimensions: overall: 25.5 x 33.5 cm (10 1/16 x 13 3/16 in.). Medium: lithograph on wove paper. Museum: National Gallery of Art, Washington DC. Author: Théodore Géricault.

alb3710037 Red House, Paimpol. Dated: 1893. Dimensions: image: 22.7 × 16.2 cm (8 15/16 × 6 3/8 in.) sheet: 37.1 × 24.3 cm (14 5/8 × 9 9/16 in.). Medium: color lithograph on wove paper. Museum: National Gallery of Art, Washington DC. Author: JAMES ABBOTT MCNEILL WHISTLER.

alb3713224 The Lamentation. Dated: in or before 1509. Medium: woodcut. Museum: National Gallery of Art, Washington DC. Author: Lucas Cranach the Elder.

alb3715431 Daniel Heinsius. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Jonas Suyderhoff after Jacob Fransz van der Merck.

alb3715467 Jerusalem Artichoke Flowers. Dated: 1880. Dimensions: overall: 99.6 x 73 cm (39 3/16 x 28 3/4 in.) framed: 121.9 x 95.2 cm (48 x 37 1/2 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: CLAUDE MONET.

alb3714145 The Feast of the Bohemians. Dated: 1621. Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: JACQUES CALLOT.

alb3684173 Battle of Bunker Hill (June 17, 1775). Artist: After John Trumbull (American, Lebanon, Connecticut 1756-1843 New York); Johann Gotthard Muller (German, Bernausen 1747-1830 Stuttgart). Dimensions: image: 19 13/16 x 29 5/8 in. (50.3 x 75.2 cm)plate: 23 3/8 x 32 5/8 in. (59.4 x 82.9 cm)sheet: 23 3/8 x 34 in. (59.4 x 86.4 cm). Publisher: Published London by Antonio Cesare Poggi (Italian, active London and Paris, 1769-?1836). Date: ca. 1798. Museum: Metropolitan Museum of Art, New York, USA.

alb3681859 Floral collar from Tutankhamun's Embalming Cache. Dimensions: Diam. 44 cm (17 5/16 in.); D. 15.5 cm (6 1/8 in.). Dynasty: Dynasty 18. Reign: reign of Tutankhamun. Date: ca. 1336-1327 B.C..This remarkably preserved floral collar, from the funerary cache of Tutankhamun, illustrates how the broad collars so frequently depicted in Egyptian tomb paintings were made. Alternating rows of flower petals and blossoms, leaves, berries, and blue faience beads were sewn to a papyrus backing, and linen ties secured the collar around the wearer's neck. Some of the flora used in the Tutankhamun collars have been identified as olive leaves, cornflowers, and poppies. Several collars in the cache, like this one, were bound around the edge with red cloth, and the resulting combination of red, blue, black, and green must have been very colorful and similar to the polychrome decoration on some of the terracotta vessels in same deposit. Museum: Metropolitan Museum of Art, New York, USA.

alb3639804 A Giant Seated in a Landscape, sometimes called 'The Colossus'. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Plate: 11 3/16 × 8 3/16 in. (28.4 × 20.8 cm). Date: by 1818.One of Goya's most striking images, the implicit subject of this work is unclear. A giant seated in a landscape turns his head over his shoulder as if he has been disturbed from thought. Perhaps he had been awaiting the dawning of a new day and turns because the moment has come. The Spanish master produced this print using burnished aquatint to achieve subtle effects of light and dark--an apt technique for depicting a crepuscular atmosphere and conveying the sense of unease that pervades the composition.It is not known exactly when Goya made this print. It has been dated to around 1800 or 'by 1818'. There is a close relationship between the print and the famous painting of the 'Colossus' in the Museo del Prado, Madrid. Both works show the same figure. The painting has always been attributed to Goya, but in 2008 it was assigned by the Prado Museum as a studio work and not by the master himself. There is no consensus and disagreement continues. The print is critical in the debate about the authorship of the painting. If the painting is a studio work then the artist borrowed the figure of Colossus from Goya's print. Given his imagination and originality, it seems highly unlikely that Goya would borrow the figure from someone else's painting to use in his print. Museum: Metropolitan Museum of Art, New York, USA.

alb3637054 Bifolium from the "Nurse's Qur'an" (Mushaf al-Hadina). Dimensions: H. 17 1/2 in. (44.5 cm)W. 23 5/8 in. (60 cm). Date: ca. A.H. 410/ A.D. 1019-20.This double-page from a Qur'an comes down to us with the fascinating information that the nursemaid to one of the Zirid rulers of North Africa commissioned it for donation to the Great Mosque of Qairawan. It is written in a form of the 'new style kufic' script that was unique to North Africa, and it was copied on parchment, which remained in use in this region long after paper was commonly used for Qur'ans from Egypt, Iraq or Iran. Museum: Metropolitan Museum of Art, New York, USA.

alb3681147 Cuneiform tablet: administrative account of barley distribution with cylinder seal impression of a male figure, hunting dogs, and boars. Culture: Sumerian. Dimensions: 2.17 x 2.36 x 1.63 in. (5.5 x 6 x 4.15 cm). Date: ca. 3100-2900 B.C..Of the many legacies left by the ancient civilizations of southern Mesopotamia, the invention of writing is paramount. At the end of the fourth millennium B.C., written language developed in the region, first as pictographs and then evolving into abstract forms called cuneiform. The pictographs, like the ones on this tablet, are called proto-cuneiform and were drawn in the clay with a pointed implement. Circular impressions alongside the pictographs represented numerical symbols. Cuneiform (meaning wedge-shaped) script was written by pressing a reed pen or stylus with a wedge-shaped tip into a clay tablet. Clay, when dried to a somewhat hardened state, made a fine surface for writing, and when fired the records written on it became permanent.Early writing was used primarily as a means of recording and storing economic information. This tablet most likely documents grain distributed by a large temple, although the absence of verbs in early texts makes them difficult to interpret with certainty. In addition to the writing that appears on this tablet, the imagery of the cylinder seal, which was incompletely impressed on both faces and the edges of the tablet before it was inscribed, also records information. This seal apparently has not survived. The seal impression depicts a male figure guiding two dogs on a leash and hunting or herding boars in a reed marsh. He is the so-called priest-king, a male figure who can be identified by his dress and pose. Here he appears in his role as the good shepherd who protects flocks from wild predators.Adapted from, Art of the Ancient Near East: A Resource for Educators (2010). Museum: Metropolitan Museum of Art, New York, USA.

alb3631509 Manuel Osorio Manrique de Zuñiga (1784-1792). Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: 50 x 40 in. (127 x 101.6 cm). Date: 1787-88.The sitter is the son of the Count and Countess of Altamira. Outfitted in a splendid red costume, he is shown playing with a pet magpie (which holds the painter's calling card in its beak), a cage full of finches, and three wide-eyed cats. In Christian art birds frequently symbolize the soul, and in Baroque art caged birds are symbolic of innocence. Goya may have intended this portrait as an illustration of the frail boundaries that separate the child's world from the forces of evil or as a commentary on the fleeting nature of innocence and youth. Museum: Metropolitan Museum of Art, New York, USA. Author: Goya (Francisco de Goya y Lucientes).

alb3630881 Seal amulet in the form of a lion's head. Dimensions: Seal Face: 4.5 x 3.7 cmHeight: 1.5 cm. Date: ca. 3300-2900 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

alb3637044 Harper's, August. Artist: Edward Penfield (American, Brooklyn, New York 1866-1925 Beacon, New York). Dimensions: Sheet: 19 5/16 × 13 1/2 in. (49.1 × 34.3 cm)Image: 18 7/16 × 11 1/8 in. (46.8 × 28.3 cm). Publisher: Harper and Brothers, Publishers. Date: 1893. Museum: Metropolitan Museum of Art, New York, USA.

alb3639134 The stopping place of the gypsies: the fortune-tellers (La Halte des bohémiens: les diseuses de bonne aventure), from the series 'The Gypsies' (Les Bohémiens). Artist: Jacques Callot (French, Nancy 1592-1635 Nancy). Dimensions: sheet: 4 13/16 x 9 5/16 in. (12.2 x 23.6 cm). Date: 1621-31. Museum: Metropolitan Museum of Art, New York, USA.

alb3634825 Saint Justina of Padua. Artist: Bartolomeo Montagna (Bartolomeo Cincani) (Italian, Vicentine, before 1459-1523). Dimensions: Overall, with added strips, 19 1/2 x 15 1/8 in. (49.5 x 38.4 cm); painted surface 19 1/8 x 14 3/4 in. (48.6 x 37.5 cm). Date: 1490s.A fragment from an altarpiece, this picture shows the early Christian martyr Justina in the guise of an elegantly dressed contemporary of the artist, thereby overlapping an ideal image of a saint with the conventions of portraiture. This is not surprising, for by the 1490s it was not uncommon to have yourself depicted as your patron saint. The palm branch and the sword piercing her breast are the saint's traditional attributes. In 1469 Montagna was associated with Giovanni Bellini; he went on to become the principal painter in Vicenza. Museum: Metropolitan Museum of Art, New York, USA.

alb3637484 Head of Tutankhamun. Dimensions: H. 17.2 cm (6 3/4 in.); W. 16 cm (6 5/16 in.); D. 23.6 cm (9 5/16 in.). Dynasty: Dynasty 18. Reign: reign of Tutankhamun. Date: ca. 1336-1327 B.C..This head is a fragment from a statue group that represented a god seated on a throne with the young king Tutankhamun in front of him. The king's figure was considerably smaller than that of the god, indicating his subordinate status in the presence of the deity. All that remains of the god is his right hand, which touches the back of the king's crown in a gesture that signifies Tutankhamun's investiture as king. During coronation rituals, various types of crowns were put on the king's head. The type represented here--probably a leather helmet with metal disks sewn onto it--was generally painted blue, and is commonly called the "blue crown." The ancient name was khepresh.Statue groups showing a king together with gods had been created since the Old Kingdom, and formal groups relating to the pharaoh's coronation were dedicated at Karnak by Hatshepsut and other rulers of Dynasty 18. The Metropolitan's head of Tutankhamun with the hand of the god is special because of the intimacy with which the subject is treated. The face of the king expresses a touching youthful earnestness, and the hand of the god is raised toward his crown with gentle care.A cast of the head has recently been matched by a scholar to the remains of an indurated limestone seated statue of a god in the storerooms at Karnak in Thebes. She reports that the join is minimal, but conclusive. This confirms the long supposed origin of the Museum's head from Karnak temple, and also resolves the question of the young king's pose - he was standing rather than kneeling in front of the god. The seated god at Karnak is only preserved from the waist down and is much damaged, so that the god is not identified specificially. Amun is, however, the likely candidate. Museum: Metropolitan Museum of Art, New York, USA.

alb3633736 Court presentation ensemble. Culture: probably American. Date: 1896.Emily Warren Roebling, who had a significant role in the building of the Brooklyn Bridge, wore this gown for her formal presentation to Queen Victoria in 1896. Robeling was the wife of Washington Augustus Roebling (1837-1926), the chief engineer of the bridge, and took over day-to-day supervision of the project for a period of fourteen years after husband became ill and was unable to visit the construction site. Although she had no formal training, Roebling's extensive knowledge of engineering contributed significantly to the successful completion of the bridge in 1886.Presentation at court was a special event for American women of Roebling's social status and court protocol regulated men's and women's formal attire for the event. The lavish embroidery, sumptuous textiles and long train are characteristics of the formal gown, making it appropriate for the occasion. Roebling appears to have had a sentimental attachment to the ensemble; she chose to wear it again for her portrait by Charles-Émile-Auguste Carolus-Duran (1838-1917) which is also now part of the Brooklyn Museum collection. Museum: Metropolitan Museum of Art, New York, USA.

alb3639205 The Nativity with Saints. Artist: Ridolfo Ghirlandaio (Italian, Florence 1483-1561 Florence). Dimensions: Central panel 14 x 9 in. (35.6 x 22.9 cm); each wing 14 x 4 in. (35.6 x 10.2 cm).Ridolfo was the son of Domenico Ghirlandaio, and like his father headed a workshop that was prepared to undertake a variety of tasks, from the decoration of a chapel to small portable altarpieces. The destination of this work is not known, but the presence of Saint Benedict in one of the wings and of a kneeling Benedictine in the foreground of the center panel suggests that it was made for a Benedictine monastery. It is contemporary with the frescoes in the Cappella dei Priori of 1514 and, in its landscape setting and the figure types, depends on Fra Bartolomeo and Mariotto Albertinelli. Museum: Metropolitan Museum of Art, New York, USA.

alb3633485 A Moonlit scene depicting the Areopagite judged of Athens, from Thronus Justitiae, tredecim pulcherrimus tabulis..., plate 8. Artist: Willem van Swanenburg (Netherlandish, ca. 1581/82-1612); After Joachim Wtewael (Netherlandish, Utrecht 1566-1638 Utrecht). Dimensions: Sheet: 11 9/16 × 14 9/16 in. (29.4 × 37 cm). Publisher: Christoffel van Sichem I (Netherlandish, 1546-1624). Series/Portfolio: Thronus Justitiae, tredecim pulcherrimus tabulis.... Date: 1605.This print is from a set of 13 plates depicting "pictures of justice", with scenes from the Bible, history, and legend. The prints are executed by Willem Swaneburg after designs by Joachim Wtewael. The prints were first published by Christoffel van Sichem in 1606. Museum: Metropolitan Museum of Art, New York, USA.

alb3637920 The Holy Family with Saints Anne and Catherine of Alexandria. Artist: Jusepe de Ribera (called Lo Spagnoletto) (Spanish, Játiva 1591-1652 Naples). Dimensions: 82 1/2 x 60 3/4 in. (209.6 x 154.3 cm). Date: 1648.A masterpiece of the artist's maturity, this painting combines the naturalism and quality of physical presence associated with Caravaggio with the elevated formal language of Raphael. Spanish by birth, Ribera lived all of his adult life in Rome and Naples, which was ruled by a Spanish viceroy. During his early years in Rome, he adopted Caravaggio's practice of working directly from posed models and this has enabled him to give vibrant presence to figures inhabiting a sacred realm. Museum: Metropolitan Museum of Art, New York, USA.

alb3637247 The Evacuation of Fort Sumter, April 1861. Artist: Attributed to Alma A. Pelot (American, active Charleston, South Carolina, 1850s-1860s); Attrobuted to Jesse H. Bolles (American, active Charleston, South Corlina, 1850s-1860s). Dimensions: Image: 1 15/16 × 3 1/8 in. (5 × 7.9 cm)Mount: 3 3/8 in. × 4 3/4 in. (8.5 × 12 cm). Publisher: Edward Anthony (American, 1818-1888). Date: April 1861. Museum: Metropolitan Museum of Art, New York, USA.

alb3708720 The Taking of Carthagena. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Georg Pencz after Giulio Romano.

alb3709662 Bathsheba at Her Bath. Dated: 1519. Dimensions: sheet: 11.9 x 9.5 cm (4 11/16 x 3 3/4 in.). Medium: woodcut. Museum: National Gallery of Art, Washington DC. Author: Hans Burgkmair I.

alb3708182 The Bohemians Marching: The Rear Guard. Dated: 1621. Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: JACQUES CALLOT.

alb3701943 Sainte-Adresse. Dated: 1867. Dimensions: overall: 57 x 80 cm (22 7/16 x 31 1/2 in.) framed: 76.2 x 99.7 x 6.9 cm (30 x 39 1/4 x 2 11/16 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: CLAUDE MONET.

alb3703201 Interior, after Dinner. Dated: 1868/1869. Dimensions: overall: 50.2 x 65.4 cm (19 3/4 x 25 3/4 in.) framed: 76.4 x 93.4 x 7.6 cm (30 1/16 x 36 3/4 x 3 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: CLAUDE MONET.

alb3706296 Cardinal Francesco Cennini. Dated: 1625. Dimensions: overall: 117.4 x 96.2 cm (46 1/4 x 37 7/8 in.) framed: 147.6 x 126.7 x 6.9 cm (58 1/8 x 49 7/8 x 2 11/16 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Giovanni Francesco Barbieri, called Guercino.

alb3704677 Henri de Mesmes. Dated: 1650. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Robert Nanteuil.

alb3709707 Catharine. Dated: 1913. Dimensions: overall: 61 x 51 cm (24 x 20 1/16 in.) framed: 85.1 x 74.9 x 6.4 cm (33 1/2 x 29 1/2 x 2 1/2 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Robert Henri.

alb3700701 Volendam Street Scene. Dated: 1910. Dimensions: overall: 51 x 61.1 cm (20 1/16 x 24 1/16 in.) framed: 73.7 x 83.8 x 6.4 cm (29 x 33 x 2 1/2 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Robert Henri.

alb3677526 Cylinder seal and modern impression: three "pigtailed ladies" with double-handled vessels. Dimensions: 0.79 in. (2.01 cm). Date: ca. 3300-2900 B.C..Although engraved stones had been used as early as the seventh millennium B.C. to stamp impressions in clay, the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These cylinder seals, first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed on lumps of clay that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery no longer extant in any other medium, they serve as a visual chronicle of style and iconography.The modern impression of the seal is shown so that the entire design can be seen. This seal shows three "pigtailed ladies," each squatting on a platform or mat facing two double handled vessels on stands. Museum: Metropolitan Museum of Art, New York, USA.

alb3673838 The Boston Massacre. Artist: Paul Revere Jr. (American, Boston, Massachusetts 1734-1818 Boston, Massachusetts). Dimensions: image: 10 1/4 x 9 1/8 in. (26 x 23.2 cm)sheet: 11 x 9 9/16 in. (27.9 x 24.3 cm). Date: 1770. Museum: Metropolitan Museum of Art, New York, USA.

alb3675604 The Marching Gypsies (Les bohémiens en marche), also called The Advance Guard (L'avant-garde). Artist: Jacques Callot (French, Nancy 1592-1635 Nancy). Dimensions: sheet: 4 15/16 x 9 5/16 in. (12.5 x 23.6 cm). Publisher: Israël Henriet (French, Nancy ca. 1590-1661 Paris). Series/Portfolio: The Gypsies (Les bohémiens). Date: 1621-31. Museum: Metropolitan Museum of Art, New York, USA.

alb3672614 Süleyman the Magnificent. Artist: Engraved by Melchior Lorck (Danish, Flensburg 1526-after 1588 Hamburg (?)). Dimensions: Sheet: 15 7/8 x 11 1/4 in. (40.4 x 28.6 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

alb3676548 Cassell's Magazine: December. Artist: Louis John Rhead (American (born England), Etruria 1857-1926 Amityville, New York). Dimensions: Sheet: 12 5/8 x 15 in. (32.1 x 38.1 cm)Image: 10 11/16 x 13 3/16 in. (27.1 x 33.5 cm). Publisher: and printer: Cassell & Co., Ltd.. Date: 1896. Museum: Metropolitan Museum of Art, New York, USA.

alb3734979 Mangrove Cuckoo. Dated: 1833. Medium: hand-colored etching and aquatint on Whatman paper. Museum: National Gallery of Art, Washington DC. Author: Robert Havell after John James Audubon.

alb3676428 Bouquet of Sunflowers. Artist: Claude Monet (French, Paris 1840-1926 Giverny). Dimensions: 39 3/4 x 32 in. (101 x 81.3 cm). Date: 1881.In November 1888, Van Gogh wrote: "Gauguin was telling me the other day--that he'd seen a painting by Claude Monet of sunflowers in a large Japanese vase, very fine. But--he likes mine better. I'm not of that opinion." Critics had earlier praised the "brio and daring" of Monet's technique when he showed this still life, depicting sunflowers that grew along the pathway to his garden at Vétheuil, at the 1882 Impressionist exhibition. Museum: Metropolitan Museum of Art, New York, USA.

alb3737402 Ships Riding on the Seine at Rouen. Dated: 1872/1873. Dimensions: overall: 37.7 x 46 cm (14 13/16 x 18 1/8 in.) framed: 59.7 x 68 x 10.2 cm (23 1/2 x 26 3/4 x 4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: CLAUDE MONET.

alb3734715 Road to Calvary. Dated: 1615/1620. Dimensions: overall: 34.4 x 41.8 cm (13 9/16 x 16 7/16 in.) framed: 57.8 x 64.5 x 4.4 cm (22 3/4 x 25 3/8 x 1 3/4 in.). Medium: oil on copper. Museum: National Gallery of Art, Washington DC. Author: Circle of Claude Déruet.

alb3734884 Momies Egyptiennes (Egyptian Mummies). Dated: c. 1870. Dimensions: overall: 27.8 x 21.8 cm (10 15/16 x 8 9/16 in.). Medium: albumen print from collodion negative. Museum: National Gallery of Art, Washington DC. Author: Félix Bonfils.

alb3698375 Baby (Cradle). Dated: 1917/1918. Dimensions: overall: 110.9 x 110.4 cm (43 11/16 x 43 7/16 in.) framed: 116.21 x 115.89 x 6.67 cm (45 3/4 x 45 5/8 x 2 5/8 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: GUSTAV KLIMT.

alb3697501 Yellow-billed Cuckoo. Dated: 1827. Medium: hand-colored etching on Whatman paper. Museum: National Gallery of Art, Washington DC. Author: William Home Lizars after John James Audubon.

alb3624894 The Intercession of Christ and the Virgin. Artist: Attributed to Lorenzo Monaco (Piero di Giovanni) (Italian, Florence (?) ca. 1370-1425 Florence (?)). Culture: Italian. Dimensions: Overall: 94 1/4 x 60 1/4 x 1 in. (239.4 x 153 x 2.5 cm). Date: before 1402.Christ and the Virgin are shown pleading with God the Father for mercy on behalf of eight small figures, perhaps members of a prominent Florentine family. In the tradition of hieratic scale, the divine figures are portrayed many times larger than the mortals, who kneel in adoration and prayer. Pointing to the wound in his side, Christ says, "My Father, let those be saved for whom you wished me to suffer the Passion." The Virgin, holding one of her breasts, pleads, "Dearest son, because of the milk that I gave you, have mercy on them." The axis of God the Father, the dove of the Holy Spirit, and the kneeling Christ also represents the Trinity. The drama of the bold devotional image, with a geometric composition typical of Florentine painting of the later fourteenth century, was heightened by its original placement inside the entrance of the cathedral, where it faced the length of the vast interior. Museum: Metropolitan Museum of Art, New York, USA.

alb3624440 Teasing the Cat. Artist: Tsukioka Yoshitoshi (Japanese, 1839-1892). Culture: Japan. Dimensions: 14 9/16 x 10 in. (37 x 25.4 cm). Date: 1888. Museum: Metropolitan Museum of Art, New York, USA.

alb3620598 Italian Woman. Artist: Attributed to Edgar Degas (French, Paris 1834-1917 Paris). Dimensions: sheet: 8 1/4 x 4 1/8 in. (21 x 10.5 cm). Date: ca. 1856-57. Museum: Metropolitan Museum of Art, New York, USA. Author: Attributed to Edgar Degas.

alb3620450 Sancta Euphrolyna, from the series Female Hermits. Artist: Abraham Bloemaert (Netherlandish, Gorinchem 1566-1651 Utrecht); Boetius Adams Bolswert (Netherlandish, Bolsward ca. 1580-1633 Brussels). Dimensions: sheet: 5 11/16 x 3 5/8 in. (14.4 x 9.2 cm). Date: 1600-1633. Museum: Metropolitan Museum of Art, New York, USA.

alb3625832 Vita B. Virginis Teresiae. Artist: Adriaen Collaert (Netherlandish, Antwerp ca. 1560-1618 Antwerp). Dimensions: 10 7/8 × 10 13/16 × 1/2 in. (27.7 × 27.4 × 1.2 cm). Published in: Antwerp. Publisher: Published by Adriaen Collaert (Netherlandish, Antwerp ca. 1560-1618 Antwerp); Published by Theodoor Galle (Netherlandish, Antwerp 1571-1633 Antwerp). Date: 1613. Museum: Metropolitan Museum of Art, New York, USA.

alb3746114 Masinissa and Sophonisba. Dimensions: Overall: 20.9 x 31.4 cm (8 1/4 x 12 3/8 in.) support: 36.6 x 47.6 cm (14 7/16 x 18 3/4 in.). Medium: black chalk. Museum: National Gallery of Art, Washington DC. Author: after Pietro da Cortona.

alb3602143 Dr. Leclenché. Artist: Claude Monet (French, Paris 1840-1926 Giverny). Dimensions: 18 x 12 3/4 in. (45.7 x 32.4 cm). Date: 1864.Monet's son Michel identified the sitter for this small, informal portrait as the artist's physician, Dr. Leclenché. Made in 1864, when Monet was still developing his skills as a figure painter, the likeness is nonetheless full of expressive details, from the doctor's jauntily crossed legs to the cigar he holds nonchalantly in his left hand. His slightly exaggerated gestures may owe a debt to Monet's youthful stint as a caricaturist. Museum: Metropolitan Museum of Art, New York, USA.

alb3744121 Phrenology Course, 2nd plate (Le cours de phrenologie). Dated: 1906. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Alphonse Legros.

alb3606549 Illustration of The Imperial Assembly of the House of Peers (Teikoku gikai kizokuin no zu). Artist: Yoshu (Hashimoto) Chikanobu (Japanese, 1838-1912). Culture: Japan. Dimensions: Oban; 14 x 29 3/4 in. (35.6 x 75.6 cm). Date: 1890. Museum: Metropolitan Museum of Art, New York, USA. Author: Yoshu (Hashimoto) Chikanobu.

alb3609374 Apples and Grapes. Artist: Claude Monet (French, Paris 1840-1926 Giverny). Dimensions: 26 5/8 x 35 1/4 in. (67.6 x 89.5 cm). Date: 1879-80.This is one of three tabletop still lifes depicting a basket of apples and grapes that Monet painted in 1879-80, when a spell of bad weather forced him to retreat indoors. In late November 1879, his future stepdaughter Marthe Hoschedé took note of a "painting of fruits" in progress, when she recorded that Monet was "working hard at his still lifes which are very pretty.". Museum: Metropolitan Museum of Art, New York, USA.

alb3600048 Palm Trees at Bordighera. Artist: Claude Monet (French, Paris 1840-1926 Giverny). Dimensions: 25 1/2 x 32in. (64.8 x 81.3cm). Date: 1884.Monet first visited Italy's southern coast with Renoir in December 1883. Shortly thereafter, he returned alone to paint, writing his dealer that working "à deux" was constraining. This scene and The Valley of the Nervia (30.95.251) reflect Monet's excitement at the new motifs offered by the region's palm trees and mountains. For this view, he ventured from his hotel in Bordighera and looked across the Bay of Ventimiglia toward the Alps on the French border. The dazzling colors challenged him to "dare to use all the tones of pink and blue," although what he truly needed was a "palette of diamonds and jewels.". Museum: Metropolitan Museum of Art, New York, USA.

alb3603132 Tiburcio Pérez y Cuervo (1785/86-1841), the Architect. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: 40 1/4 x 32 in. (102.2 x 81.3 cm). Date: 1820.After recovering from a serious illness in 1819-20, Goya painted this portrait of one of his close friends. The sitter was an architect, and responsible for the design of the medical school on the Calle de Atocha in Madrid. He was elected to the Academy of Fine Arts of San Fernando in 1818. This is perhaps one of the most engaging of Goya's male portraits. Pérez's rolled-up sleeves and slight smile suggest a directness and warmth that are rare in the artist's oeuvre. Museum: Metropolitan Museum of Art, New York, USA.

alb3601262 Distant View of Miho Beach from Ejiri. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 9 15/32 x 14 in. (24.1 x 35.6 cm). Date: ca. 1834. Museum: Metropolitan Museum of Art, New York, USA.

alb3604306 Virgin and Child. Artist: Bartolomé Estebán Murillo (Spanish, Seville 1617-1682 Seville). Dimensions: 65 1/4 x 43 in. (165.7 x 109.2 cm). Date: ca. 1670-72.Like Zurbarán and Velázquez, Murillo was trained in Seville, where he spent his whole career. This painting of the Madonna and Child formed part of the collection of the Marqués de Santiago, who owned a number of outstanding works by the artist. The popularity of Murillo's paintings of the Madonna and Child derives from his ability to endow a timeworn theme with a quality of intimacy and sweetness. The infant's attention has, in this picture, been momentarily diverted from nursing by the presence of the viewer. Museum: Metropolitan Museum of Art, New York, USA.

alb3650916 The Unicorn in Captivity (from the Unicorn Tapestries). Culture: South Netherlandish. Dimensions: Overall: 144 7/8 x 99 in. (368 x 251.5 cm). Date: 1495-1505.The seven individual hangings known as "The Unicorn Tapestries," are among the most beautiful and complex works of art from the late Middle Ages that survive. Luxuriously woven in fine wool and silk with silver and gilded threads, the tapestries vividly depict scenes associated with a hunt for the elusive, magical unicorn. "The Unicorn in Captivity" may have been created as a single image rather than part of a series. In this instance, the unicorn probably represents the beloved tamed. He is tethered to a tree and constrained by a fence, but the chain is not secure and the fence is low enough to leap over: The unicorn could escape if he wished. Clearly, however, his confinement is a happy one, to which the ripe, seed-laden pomegranates in the tree--a medieval symbol of fertility and marriage--testify. The red stains on his flank do not appear to be blood, as there are no visible wounds like those in the hunting series; rather, they represent juice dripping from bursting pomegranates above. Many of the other plants represented here, such as wild orchid, bistort, and thistle, echo this theme of marriage and procreation: they were acclaimed in the Middle Ages as fertility aids for both men and women. Even the little frog, nestled among the violets at the lower right, was cited by medieval writers for its noisy mating. Museum: Metropolitan Museum of Art, New York, USA.

alb3658789 Floral Collars from Tutankhamun's Embalming Cache. Dimensions: 09.184.214: diam. 40 (15 3/4 in); d. 17 cm ( 6 11/16); diam. of faience disk beads 0.5 cm (3/16 in)09.184.215: diam. 44 cm (17 5/16 in); d. 15.5 cm (6 1/8 in)09.184.216: diam. 47 cm (18 1/2 in); d. 17 cm (6 11/16 in); diam. disk beads 0.5 cm (3/16 in). Dynasty: Dynasty 18. Reign: reign of Tutankhamun. Date: ca. 1336-1327 B.C..These remarkably well preserved floral collars, from the embalming cache of Tutankhamun, illustrates how the broad collars so frequently depicted in Egyptian tomb paintings were made. Alternating rows of flower petals and blossoms, leaves, berries, and blue faience beads were sewn to a papyrus backing, and linen ties secured the collar around the wearer's neck. Some of the flora used in the Tutankhamun collars have been identified as olive leaves, cornflowers, and poppies. Several collars in the cache were bound around the edge with red cloth, and the resulting combination of red, blue, black, and green must have been very colorful and similar to the polychrome decoration on some of the terracotta vessels in the same deposit. Museum: Metropolitan Museum of Art, New York, USA.

alb3659131 Harper's: The German Struggle for Liberty, July. Artist: Edward Penfield (American, Brooklyn, New York 1866-1925 Beacon, New York). Dimensions: Sheet: 21 11/16 × 14 3/16 in. (55.1 × 36 cm). Publisher: Harper and Brothers, Publishers. Date: 1895. Museum: Metropolitan Museum of Art, New York, USA.