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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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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.

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

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.

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).

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.

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.

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.

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.

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.

alb3899903 Rue de Paris, temps de pluie / Paris Street in Rainy Weather. Date/Period: 1877. Painting. Oil on canvas Oil on canvas. Height: 2,122 mm (83.54 in); Width: 2,762 mm (108.74 in). Author: Gustave Caillebotte.

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.

alb3890395 Ferman (imperial decree) of Sultan Mehmed II (r. 1451-1481). Date/Period: 1459. Ink and gold on paper. Height: 495 mm (19.48 in); Width: 197 mm (7.75 in). Author: Unknown scribe.

alb3893079 La scoperta del cadavere di Oloferne e Il ritorno di Giuditta / The Discovery of Holofernes' Corpse Judith Returns from the Enemy Camp at Bethulia. Date/Period: From 1470 until 1472. Painting. Tempera on panel. Height: 31 cm (12.2 in); Width: 24 cm (9.4 in). Author: SANDRO BOTTICELLI.

alb3895931 Russian Dancers. Date/Period: 1894/1904. Pastel on tracing paper mounted on cardboard. Width: 62.9 cm. Height: 62.2 cm (sheet). Author: EDGAR DEGAS.

alb3895945 The Ukranian Dancer. Date/Period: 1895. Drawing. Pastel, charcoal on joined paper laid down on board Pastel, charcoal on joined paper laid down on board. Height: 665.22 mm (26.19 in); Width: 562.10 mm (22.13 in). Author: EDGAR DEGAS.

alb3895901 Danseuses Dancers. Date/Period: 1884 - 1885. Pastel. Height: 750 mm (29.52 in); Width: 730 mm (28.74 in). Author: EDGAR DEGAS.

alb3895958 Washerwomen. Date/Period: 1870/1872. Oil on canvas. Width: 21 cm. Height: 15 cm (Without frame). Author: EDGAR DEGAS.

alb3895940 Le Violoncelliste Pilet The Cellist Pilet. Date/Period: 1868 - 1869. Painting. Oil on canvas. Height: 500 mm (19.68 in); Width: 610 mm (24.01 in). Author: EDGAR DEGAS.

alb3891259 Un sentier aux Sablons [A path at Les Sablons]. Date/Period: 1883. Painting,oil on canvas. Height: 460 mm (18.11 in); Width: 550 mm (21.65 in). Author: Alfred Sisley.

alb3895059 Judith with the Head of Holofernes. Date/Period: Ca. 1530. Painting. On lime. Circa Height: 86 cm (33.8 in); Width: 55.7 cm (21.9 in). Author: Lucas Cranach the Elder.

alb3894603 La rue Montorgueil à Paris. Fête du 30 juin 1878 The Rue Montorgueil in Paris. Celebration of June 30, 1878. Date/Period: 1878. Painting. Oil on canvas. Height: 810 mm (31.88 in); Width: 500 mm (19.68 in). Author: CLAUDE MONET.

alb3894616 The Young Ladies of Giverny, Sun Effect. Date/Period: 1894. Painting. Oil on canvas Oil on canvas. Author: CLAUDE MONET.

alb3894633 Les Nymphéas / Waterlilies. Date/Period: 1904. Painting. Oil on canvas. 92 × 89 cm (36.2 × 35 in). Author: CLAUDE MONET.

alb3894645 Poplars. Date/Period: 1891. Painting. Oil on canvas Oil on canvas. Height: 930.91 mm (36.65 in); Width: 741.68 mm (29.20 in). Author: CLAUDE MONET.

alb3894641 Winter Landscape with Evening Sky. Date/Period: 1870. Width: 326 mm. Height: 230 mm (Complete). Author: CLAUDE MONET.

alb3894624 Les Villas à Bordighera / Villas at Bordighera. Date/Period: 1884. Painting. Oil on canvas. Height: 1,150 mm (45.27 in); Width: 1,300 mm (51.18 in). Author: CLAUDE MONET.

alb3894526 Nymphéas bleus Blue Water Lilies. Date/Period: 1916 - 1919. Painting. Oil on canvas. Height: 2,000 mm (78.74 in); Width: 2,000 mm (78.74 in). Author: CLAUDE MONET.

alb3894662 Coquelicots Poppy Field. Date/Period: 1873. Painting. Oil on canvas. Height: 500 mm (19.68 in); Width: 650 mm (25.59 in). Author: CLAUDE MONET.

alb3894586 Still Life with Pheasants and Plovers. Date/Period: 1879. Painting. Oil on canvas. Width: 35.5 in. Height: 26.75 in. Author: CLAUDE MONET.

alb3894529 Charing-Cross Bridge in London. Date/Period: Ca. 1902. Painting. Oil on canvas Oil on canvas. Height: 653 mm (25.70 in); Width: 1,000 mm (39.37 in). Author: CLAUDE MONET.

alb3894547 L'Été / Summer. Date/Period: 1874. Painting. Oil on canvas. Height: 57 cm (22.4 in); Width: 80 cm (31.4 in). Author: CLAUDE MONET.

alb3894560 Peony Garden. Date/Period: 1887. Painting. Oil on canvas Oil on canvas. Height: 653 mm (25.70 in); Width: 1,000 mm (39.37 in). Author: CLAUDE MONET.

alb3894594 Les déchargeurs de charbon The Coalmen Die Kohlenträger. Date/Period: Ca. 1875. Painting. Oil on canvas. Height: 540 mm (21.25 in); Width: 660 mm (25.98 in). Author: CLAUDE MONET.