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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.

akg199021 after: Merian, Matthaeus the Elder. 1593-1650 - "Siège de Jerusalem". (Nebuchadnezzar besieges Jerusalem; -Kings 2, 25,1-13). Engraving, 1670, by Pierre Mariette. (1634-1716) after Merian. Fr: L'Histoire du Vieux et du Nouveau Testament (..). Par le Sieur de Royaumont, Nouvelle edition, Paris (Jean Villette) 1723, p. 275. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.

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.

akg1080491 Paris (Frankreich), 6.Arr., Institut de France (erbaut als Collège des Quatre Nations 1662-68; Arch.: Louis Le Vau).-Blick vom Pont des Arts auf die Kapelle des Institut de France bei Nacht.-Panoramafoto, 2009.

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.

akg4459264 PORTRAIT of military single full-length, standing and leaning against a balustrade of the scenario study. The man, proud of the regiment to which they belong, he composed artfully coat and hat, and took a pose that highlights the mostreggiatura and the frieze. To complete its recognition in phototype in "Carte de Visite", has been added hand coloring of the profiling of the jacket and shoulder pads, the hand guard and stripes on the pants. Photo by Viglietti, Mondovi (CN) 1890.

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.

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.

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.

alb305232 VINCENT SCHIAVELLI, JACK NICHOLSON, DANNY DEVITO, WILL SAMPSON and BRAD DOURIF 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.

alb5039626 James McNeill Whistler, (artist), American, 1834 - 1903, Red House, Paimpol, 1893, color lithograph on wove paper, 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.).

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.

alb2033585 Gustav Klimt / 'Judith II (Salome)', 1909, Oil on canvas, 178 x 46 cm. Museum: Galleria d'Arte Moderna, MUNICH, ITALIA.

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

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.

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.

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.

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

alb2068612 Francisco de Goya y Lucientes / 'Hunting with a Decoy', 1775, Spanish School, Oil on canvas, 112 cm x 179 cm, P02856. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

alb2019237 Diego Velázquez / 'Portrait of Juan de Pareja', 1650, Oil on canvas, 81.3 x 69.9 cm. Museum: METROPOLITAN MUSEUM OF ART, NUEVA YORK, USA.

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.

alb3717373 Black-billed Cuckoo. Dated: 1828. Dimensions: plate: 47.7 x 67 cm (18 3/4 x 26 3/8 in.) sheet: 68 x 100.8 cm (26 3/4 x 39 11/16 in.). Medium: hand-colored etching and aquatint on Whatman paper. Museum: National Gallery of Art, Washington DC. Author: Robert Havell after John James Audubon.

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.

alb3681545 Cylinder seal and modern impression: seated "pigtailed ladies" and pots. Dimensions: H. 3/4 in. (1.9 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. The imagery on this seal depicts two pairs of so-called pigtailed ladies, seated facing each other, with arms outstretched towards an object or objects that consist only of a large circular drill mark with two smaller circles above. These three circles may be an abstract representation of the vessels with loop handles frequently seen on other seals of this type. Faint lines below the seated figures suggest mats or cushions. Between the backs of two of the figures are six drill holes, possibly representing two stacked vessels of the same type shown here between the seated figures. Museum: Metropolitan Museum of Art, New York, USA.

alb3717894 Young Boy in Profile. Dated: c. 1630. Dimensions: diameter: 19 cm (7 1/2 in.). Medium: oil on panel. Museum: National Gallery of Art, Washington DC. Author: Judith Leyster.

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.

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.

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).

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.

alb3637388 A Turkish Prince on Horseback. Artist: after Adam Elsheimer (German, Frankfurt 1578-1610 Rome); After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp); Pieter Soutman (Dutch, ca. 1580-1657). Dimensions: Sheet (Trimmed): 11 5/8 × 8 5/8 in. (29.6 × 21.9 cm). Date: ca. 1620-25.After a drawing by Rubens in the British Museum, after Elsheimer. Museum: Metropolitan Museum of Art, New York, USA.

alb3636718 Ignacio Garcini y Queralt (1752-1825), Brigadier of Engineers. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: 41 x 32 3/4 in. (104.1 x 83.2 cm). Date: 1804.An official in the War Department, Ignacio Garcini wears the uniform of the Corps of Engineers. The embroidered red cross on his coat and the badge of the Order of Santiago are decorations he received in 1806 and must have been added later. After the French invasion of Spain in 1808, Garcini became a collaborator, and in 1811 he wrote the book Chronicle of Spain since the Reign of Charles IV: Account of the Persecution Suffered by Colonel D. Ignacio Garcini. Museum: Metropolitan Museum of Art, New York, USA. Author: Goya (Francisco de Goya y Lucientes).

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.

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.

alb3639191 Cylinder seal and modern impression: ritual scene before a temple facade. Dimensions: h. 4.5 cm (1 3/4 in.). Date: ca. 3500-3100 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. The imagery on this seal depicts a procession towards a building represented by a schematic façade. Three nude figures approach the structure. The first bends to pour from a vessel into a container; the second, while mostly obscured by damage, stands upright; and the third raises an object-perhaps a vessel-in his clasped hands. A quadruped, two unidentified rectangular forms, a container, and perhaps a beaker are depicted in the field around the building, identified as a temple by its distinctive form and the activities around it. Museum: Metropolitan Museum of Art, New York, USA.

alb3631088 Sebastián Martínez y Pérez (1747-1800). Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: 36 5/8 x 26 5/8 in. (93 x 67.6 cm). Date: 1792.The sheet of paper in the sitter's hand reads: "Don Sebastián Martínez by his friend Goya 1792." Martínez was a famous collector of books, prints, and paintings. He held the position of chief treasurer of the Finance Committee of Cadiz, a flourishing harbor town linked by trade with England and France. This portrait was probably painted just before Goya contracted the illness that caused his deafness and affected him intermittently for the rest of his life. During his convalescence in 1793, he spent several months in Martínez's home. Museum: Metropolitan Museum of Art, New York, USA. Author: Goya (Francisco de Goya y Lucientes).

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.

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.

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.

alb3700570 The Wonderful Pig. Dated: 1785. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Thomas Rowlandson.

alb3634300 Majas on a Balcony. Artist: Attributed to Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: 76 3/4 x 49 1/2in. (194.9 x 125.7cm). Date: ca. 1800-1810.The theme of women on a balcony overseen by watchful, somewhat threatening male companions strongly engaged Goya, who treated this subject in a painting now in a private collection. Dating from about 1810, the latter is among Goya's masterpieces. The Metropolitan's painting is sometimes considered a variant composition, its attribution questioned by some experts. Expressively and stylistically, however, the two paintings are quite different and the Metropolitan's painting has suffered from abrasion and past overcleaning. Museum: Metropolitan Museum of Art, New York, USA.

alb3631240 The Parc Monceau. Artist: Claude Monet (French, Paris 1840-1926 Giverny). Dimensions: 28 5/8 x 21 3/8 in. (72.7 x 54.3 cm). Date: 1878.Monet painted six views of the Parc Monceau: three in 1876 and three in 1878. In this canvas, the disposition of light and shade in the foreground, the patterns of the leaves, and the broad contours beginning to develop in areas of strong contrast suggest that Monet had already begun to experiment with the boldly two-dimensional motifs that would characterize his work of the 1880s and 1890s. 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.

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

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.

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.

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.

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

alb3899824 Burial of Saint Petronilla. Date/Period: 1623. Painting. Oil on canvas. Height: 7,200 mm (23.62 ft); Width: 4,230 mm (13.87 ft). Author: GUERCINO.

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.

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.

alb3891382 Mrs Rabone. Date/Period: 1871. Cartes-de-visite. Black and white photograph, albumen silver print. Height: 92 mm (3.62 in); Width: 56 mm (2.20 in). Author: American Photographic Company (Auckland).

alb3890529 [Copy of a Sketch of Colonel Crealock's Engagement in India]. Date/Period: 1858 - 1859. Print. Albumen silver. Height: 283 mm (11.14 in); Width: 225 mm (8.85 in). Author: Felice Beato.

alb3890580 [Lieutenant-Colonel Abbott, Commissioner of Lucknow]. Date/Period: 1858 - 1859. Print. Albumen silver. Height: 168 mm (6.61 in); Width: 129 mm (5.07 in). Author: Felice Beato.

alb3893170 The Third Plague of Egypt: Gnats (Exodus 8:17). Date/Period: Ca. 1250 (Medieval). Illuminated manuscripts; folios (leaves). Ink and pigment on parchment ink and pigment on parchment. Height: 13.20 mm (0.51 in); Width: 9.50 mm (0.37 in). Author: WILLIAM DE BRAILES.

alb3890548 [Gateway Leading into The Residency, Commonly the Bailee Guard Gate, Held by Lieutenant-Colonel R.H.M. Aitken, of the 13th Bengal Native Infantry]. Date/Period: 1858. Print. Albumen silver. Height: 233 mm (9.17 in); Width: 302 mm (11.88 in). Author: Felice Beato.

alb3898262 L'atelier de Schuffenecker, ou La famille Schuffenecker / Schuffenecker's Studio. Date/Period: 1889. Painting. Oil on canvas. Height: 730 mm (28.74 in); Width: 920 mm (36.22 in). Author: PAUL GAUGUIN.

alb3890547 [Gateway and Banqueting Hall, Lucknow]. Date/Period: April 1858. Print. Albumen silver. Height: 244 mm (9.60 in); Width: 298 mm (11.73 in). Author: Felice Beato.

alb3897322 A Man, called Racine. Date/Period: Early 18th century. Painting. Oil on canvas Oil. Height: 800 mm (31.49 in); Width: 635 mm (25 in). Author: French school.

alb3893275 Richard Burbage. Date/Period: Early 17th century. Painting. Oil on canvas Oil. Height: 303 mm (11.92 in); Width: 262 mm (10.31 in). Author: British School.

alb3895888 Répétition d'un ballet sur la scène Ballet Rehearsal on Stage. Date/Period: 1874. Painting. Oil on canvas. Height: 650 mm (25.59 in); Width: 810 mm (31.88 in). Author: EDGAR DEGAS.