Textiles and Scrolls

Varied historical textiles and scrolls, featuring intricate designs, colors, and cultural significance from different centuries.

Piece 1760-70 French. Piece. French. 1760-70. Silk and metal thread. Textiles-Woven

Hanging Scroll, Scholar and Pines Hanging Scroll, Scholar and Pines, 16th-17th century. Ink and color on silk, With mount: 47 x 13 7/8 in. (119.4 x 35.2 cm). Asian Art 16th-17th century

Fragment. Dimensions: 17 11/16 in. high 4 5/16 in. wide (45 cm high 11 cm wide). Date: 4th century. Museum: Metropolitan Museum of Art, New York, USA.

The Sisters Abbott H. Thayer (American, 1849-1921). The Sisters, 1884. Oil on canvas, 54 5/16 x 36 1/4 in. (138 x 92.1 cm). The women in this portrait were Bessie (left) and Clara Stillman, the sisters of the powerful financier James Stillman. Abbott Handerson Thayers biographer, Nelson C. White, recorded an anecdote about his own experience of viewing this painting at an exhibition in 1922: “I was looking at the picture when two elderly women came and stood before it. As I glanced from the canvas to their faces I suddenly realized that they were the subjects of the portrait. Thayer had rendered their character in their youth with such insight and feeling that the likenesses survived the modulations of age and easily identified them.” American Art 1884

Fragment. Dimensions: 23 13/16 in. high 8 1/8 in. wide (60.5 cm high 20.6 cm wide). Date: 5th century. Museum: Metropolitan Museum of Art, New York, USA.

Curtain. Culture: Italian, Venice. Dimensions: 3 yds. 4 in. x 1 yd. 5 1/2 in. (284.5 x 105.4 cm.). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Printed Piece. Culture: American or British. Dimensions: 38 x 30 in. (96.5 x 76.2 cm). Date: ca. 1835-40. Museum: Metropolitan Museum of Art, New York, USA.

Fragment. Dimensions: 11 in. high 5 3/16 in. wide (28 cm high 13.2 cm wide). Date: 5th-6th century. Museum: Metropolitan Museum of Art, New York, USA.

The Trump Card Conrad Wise Chapman (American, 1842-1910). The Trump Card, 1868. Oil on canvas, 20 13/16 x 25 1/2 in. (52.9 x 64.7 cm). American Art 1868

Wall covering 18th century Dutch. Wall covering. Dutch. 18th century. Oil on canvas, "flocked". Painted Canvases

Piece 1760-70 French. Piece. French. 1760-70. Silk and metal thread. Textiles-Woven

Bliżej Kultury unknown

Saint Lawrence Buried in Saint Stephen's Tomb Lorenzo di Niccolò (Italian, Florentine, documented 1393-1412). Saint Lawrence Buried in Saint Stephen's Tomb, ca. 1412. Tempera and tooled gold on poplar panel, 13 x 14 3/16 in. (33 x 36 cm). A horizontal panel that supports the main altarpiece, a predella often presents narrative scenes from the life of the saint or holy figure who is represented in the main image above it. In this example, Lorenzo illustrates the life of Saint Lawrence, a third-century deacon of the Catholic Church and an early martyr. At an undetermined time and for reasons that remain unclear, this predella was removed from its altarpiece and cut into several pieces. Scholars have reconstructed the approximate sequence, following art-historical precedent, and arranged the scenes according to the devotional function of the predella rather than providing a strict chronology of events. This ordering places the widest panelthe depiction of the martyred Lawrence liberatin

Fragment of Band. Dimensions: 56.5 in. high 21.25 in. wide (143.5 cm high 54 cm wide). Date: 4th-6th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece 16th-17th century Italian. Piece 223574

Piece from a Kosode with Cherry Blossoms and Poem Slips late 17th-early 18th century Japan Six poem slips hang from bamboo rods amid branches of a blooming cherry tree. Two of the three poems, which are cited only in part on the fragment, come from the eleventh-century poetry anthology Japanese and Chinese Poems to Sing (Wakan rōeishū), and the third is from a twelfth-century collection of Japanese poems, the Anthology of Oral Blooms (Shika wakashū). All of the poems are devoted to springtime topics, with two mentioning cherry blossoms and the other one plum blossoms.. Piece from a Kosode with Cherry Blossoms and Poem Slips 61804

Cover. Dimensions: 41.75 in. high 41.75 in. wide (106 cm high 106 cm wide). Date: early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th century Attributed to Marco Ciccani. Piece 222389

Fragment. Dimensions: 6.75 in. high 12.50 in. wide (17.14 cm high 31.75 cm wide). Date: 5th-6th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: Italian. Dimensions: L. 17 1/4 x W. 7 1/2 inches (43.8 x 19.1 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: French. Dimensions: L. 67 1/2 x W. 37 1/2 inches (171.5 x 95.3 cm). Date: 1760-70. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: Portuguese. Dimensions: H. 33 1/4 x W. 21 inches (84.5 x 53.3 cm). Date: early 18th century. Museum: Metropolitan Museum of Art, New York, USA.

East River Park William Glackens (American, 1870-1938). East River Park, ca. 1902. Oil on canvas, 25 7/8 x 32in. (65.7 x 81.3cm). William Glackens found ample subject matter in the parks of New York and the city dwellers who frequented them. Here he depicted the natural features of the East River Park, and the pastimes of its inhabitants, in sharp contrast to the bustling industrial setting of Brooklyn's waterfront visible across the water. For the many immigrants living in small, cramped quarters, the urban parks of Brooklyn and Manhattan served as a refuge from the poor conditions and overcrowding of tenement life. American Art ca. 1902

Centauress John La Farge (American, 1835-1910). Centauress, 1887. Oil on canvas, 41 15/16 x 35 1/4 in. (106.6 x 89.5 cm). American Art 1887

Door with Lanterns John Frederick Peto (American, 1854-1907). Door with Lanterns, late 1880s. Oil on canvas, 49 13/16 x 29 7/8 in. (126.5 x 75.9 cm). American Art late 1880s

Piece. Culture: Spanish or Portuguese. Dimensions: 15 1/2 x 8 inches (39.4 x 20.3 cm). Date: possibly ca. 1725-30. Museum: Metropolitan Museum of Art, New York, USA.

"The Bear Hunt" 1785-90 Gorgert et Cie. "The Bear Hunt" 221984

Fragment. Dimensions: 1 11/16 in. high 3/8 in. wide (4.3 cm high 0.98 cm wide). Date: 3rd-4th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment ca. 1800 Italian, Burano. Fragment 212926

Panel 3rd-4th century. Panel 445903

Door with Lanterns John Frederick Peto (American, 1854-1907). Door with Lanterns, late 1880s. Oil on canvas, 49 13/16 x 29 7/8 in. (126.5 x 75.9 cm). American Art late 1880s

Textile Fragment 5th-6th century. Textile Fragment 444107

Fragment. Dimensions: 6 5/16 in. high 4 9/16 in. wide (16 cm high 11.6 cm wide). Date: 5th-6th century. Museum: Metropolitan Museum of Art, New York, USA.

Mrs. Sylvester (Abigail Pickman) Gardiner John Singleton Copley (American, 1738-1815). Mrs. Sylvester (Abigail Pickman) Gardiner, ca. 1772. Oil on canvas, 50 3/8 x 40 in. (128 x 101.6 cm). In these two paintings, Abigail Pickman and Elizabeth Goldthwaite sat for their marriage portraits. As was typical of upper-class white women in the colonial United States, they likely did not control how they were represented in these images, which were intended to project the familys stability and wealth. Before the American Revolution, the Boston painter John Singleton Copley was the most sought-after artist in the country. Copleys portraits, highly regarded for their skillful rendering of luxurious items such as silks and pearls, were synonymous with the tastes of the eighteenth-century social elite, both in the United States and England. American Art ca. 1772

Lazio Roma Rome S. Croce in Gerusalemme. Hutzel, Max 1960-1990 Medieval: Cosmati pavement, architecture (facade). Post-medieval: Architecture, architectural sculpture, sculpture, frescoes: "Leggenda della Santa Croce," Antoniazzo Romano (attr) & "S. Elena sale al cielo," Corrado Giaquinto; mosaic ceiling in Cappella di S. Elena; coats-of-arms German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Stencil from Trading Room of the Chicago Stock Exchange, Chicago Designed by Adler and Sullivan American 1893-94 View more. Stencil from Trading Room of the Chicago Stock Exchange, Chicago. American. 1893-94. Stencil on canvas

Panel. France or Italy. Date: 1675-1700. Dimensions: 91.9 × 60.3 cm (36 1/8 × 23 3/4 in.)Warp repeat: 48-48.4 cm (18 7/8-19 in.). Silk and silvered-metal-strip-wrapped silk, warp-float faced 7:1 satin weave with supplementary brocading wefts bound in weft-float faced 3:1 twill interlacings and self-patterned by areas of plain weave. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Roundel. Dimensions: H. 4 1/4 in. (10.8 cm)W. 3 in. (7.6 cm). Date: 4th-5th century. Museum: Metropolitan Museum of Art, New York, USA.

Cover 16th century Italian. Cover. Italian. 16th century. Drawnwork, punto avorio, linen. Textiles-Laces

Fragment Made 1000-1476 Peru. Slit tapestry weave .

Panel. Dimensions: 7 5/16 in. high 5 1/2 in. wide (18.5 cm high 14 cm wide). Date: 6th-7th century. Museum: Metropolitan Museum of Art, New York, USA.

Sample. Culture: French. Dimensions: L. 4 x W. 2 7/8 inches10.2 x 7.3 cm. Date: early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Flounce ca. 1850 Belgian, Brussels or French. Flounce 221468

Piece 1720-25 French. Piece 216254

Piece. Culture: Italian. Dimensions: L. 23 1/4 x W. 21 1/4 inches (59.1 x 54.0 cm). Date: late 16th century. Museum: Metropolitan Museum of Art, New York, USA.

The Martyrdom of Saint Catherine ca. 1498 Albrecht Dürer German. The Martyrdom of Saint Catherine. Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). ca. 1498. Black ink on carved pearwood. Blocks

A stone: superimposed flap on the plate of the interior of the chapel of Saint Mary Magdalen, on Mount Verna. Engraving attributed to D. Falcini after J. Ligozzi, ca. 1612.

Futabaki Daruma Hakuin Ekaku (Japanese, 1685-1768). Futabaki Daruma, 18th century. Hanging scroll, ink on paper, Overall: 68 1/2 x 16 in. (174 x 40.6 cm). Asian Art 18th century

Standard (from Sketchbook) ca. 1891 Albert Bierstadt American. Standard (from Sketchbook) 16237

Rubbing of the Back of theTrübner Stele (29.72). Culture: China. Dimensions: Overall: 104 1/2 x 52 in. (265.4 x 132.1cm). Museum: Metropolitan Museum of Art, New York, USA.

Design for a temple ()

Woman Pouring Wine Gerard ter Borch II (Dutch, 1617-1681). Woman Pouring Wine, ca. 1650. Oil on panel, 13 15/16 x 10 7/8 in. (35.4 x 27.6 cm). European Art ca. 1650

Panel (Furnishing Fabric). Paul Gavarni (French, 1804-1866); France, Alsace. Date: 1830-1840. Dimensions: 40.6 × 47.0 cm (16 × 18 1/2 in.). Cotton, plain weave; engraved roller printed. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Panel 19th century Japan. Panel 60200

Panel late 16th or early 17th century Italian. Panel 461647

Piece. Culture: Italian. Dimensions: L. 3 1/4 x W. 5 3/4 inches (8.3 x 14.6 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Lazio Roma Velletri Museo Civico di Velletri8. Hutzel, Max 1960-1990 Medieval: Marble tondo of the depositon, early christian sarcophagus. Antiquities: Roman;statue of Athena, male and female sculpture fragments- heads, torsos, marble cinerary urn; cippi with inscriptions inscriptions, altars, sarcofagi, sarcofagus with scenes of the feats of Herakles. Etruscan; votive objects, heads, legs feet, eyes, uterus, intestine , animals; bronze objects Architectural sculpture and fragments; relief of procession pottery fragments, lamps; brickstamps. Object Notes: The Museo Civico is housed in the Palazzo Comunale. There are two Hutzel photo campaign notes, one undated and the other November 9, 1985. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects o

Hanging 5th century. Hanging 447590

Attic Red-Figure Statuette Kantharos Fragment. Attributed to Onesimos (Greek (Attic), active 500 - 480 B.C.)

Relief fragment, tomb of Meketre ca. 1981-1975 B.C. Middle Kingdom. Relief fragment, tomb of Meketre 562151

Blue #2 Georgia O'Keeffe (American, 1887-1986). Blue #2, 1916. Watercolor on paper, 15 7/8 x 10 15/16 in. (40.3 x 27.8 cm). American Art 1916

Portrait of a Woman Robert Feke (American, ca.1707-ca.1752). Portrait of a Woman, 1748. Oil on canvas, 49 3/8 x 39 9/16 in. (125.4 x 100.5 cm). The Conservator's Eye An X radiograph of this portrait reveals a compositional change invisible to the naked eye: the elimination of an elaborate blue drape that initially hung from the sitters right shoulder and wrapped around her waist. This hidden feature shows up in the radiograph because Robert Feke used lead white pigment to paint the highlights. Lead is a dense material that absorbs X-rays, causing the highlights to appear white in the radiograph, even where they have been covered with additional paint. The blue color of the draping is visible within the cracks under strong magnification. Feke made this change late in the painting process, but it is unknown if the change was made at the sitters request. American Art 1748

Attic Black-Figure Panathenaic Amphora Fragment. Unknown

Animal Hunt ca. 1450-1500 North Swiss. Animal Hunt. North Swiss. ca. 1450-1500. Linen warp, wool wefts. Made in Hesse or Thuringia. Textiles-Tapestries

Panel. France. Date: 1701-1725. Dimensions: 187.3 × 101.6 cm (73 3/4 × 40 in.). Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Waterfall (from Sketchbook). Artist: Francis William Edmonds (American, Hudson, New York 1806-1863 Bronxville, New York). Dimensions: 8 x 6 5/8 in. (20.3 x 16.8 cm). Date: ca. 1838 and after.The execution of sketches and studies was a crucial part of Edmonds's creative process. Many of his drawings exist as independent works--apparently never taken further--but many others represent an initial step in his conception for paintings. This sketchbook, which he began about 1838, includes both types of drawings of a variety of subjects. Museum: Metropolitan Museum of Art, New York, USA.

Emilia-Romagna Ferrara Pieve di Cento Pinacoteca Civica. Hutzel, Max 1960-1990 Medieval: Antiphonaries. Post-medieval: Paintings on canvas German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Bliżej Kultury unknown

The Shepherdess Albert Pinkham Ryder (American, 1847-1917). The Shepherdess, early 1880s. Oil on panel, 10 1/8 x 6 13/16 in. (25.7 x 17.3 cm). American Art early 1880s

Drapery. Draughtsman: Pieter Jansz.. Dating: 1657 - 1662. Measurements: h 56 mm × w 152 mm. Museum: Rijksmuseum, Amsterdam.

Charrette, General of the Catholic and Royal Armee Anonymous. Portraits of Charette (Chef Vend�e). Drawing,

Victor Hugo (1802-1885). Lace imprint, drawing. Paris, house of Victor Hugo. 24299-7 Lace, drawing, imprint, brown ink

Stravinsky I, II, and III. Larry Rivers (American, 1923-2002); published by Universal Limited Art Editions (American, founded 1955). Date: 1966-1967. Dimensions: 735 x 1,040 mm (image); 756 x 1,051 mm (sheet). Lithograph in black on white wove paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Tile 18th century Japan. Tile. Japan. 18th century. Clay covered with a transparent glaze. Edo period (1615-1868). Ceramics

Fragment. Dimensions: 7 5/16 in. high 5 1/2 in. wide (18.5 cm high 14 cm wide). Date: 4th century. Museum: Metropolitan Museum of Art, New York, USA.

Greek art. Fragment of a wall facing of a Sanctuary with polychrome paiting and Graffiti. Vessel. Plaster, paints. First half of the 3rd c. BC. Nymphaion, Bosporan Kingdom, Crimea. The State Hermitage Museum. Saint Petersburg. Russia.

Moonrise Albert Pinkham Ryder (American, 1847-1917). Moonrise, late 1870s. Oil on canvas, 8 3/8 x 10 5/16 in. (21.3 x 26.2 cm). American Art late 1870s

Campania Benevento Sant'Agata de' Goti Cathedral0. Hutzel, Max 1960-1990 Medieval: Architecture and architectural sculpture (10th-12th centuries); frescos (14th century); stoup. Post-medieval: Baroque additions to exterior and complete remodel of interior, including extensive stucco work; elaborately carved wooden choir stalls (17th century); paintings on canvas; tessellated pavement; sculpture; inscription; crucifix Antiquities: Corinthian columns reused in portico and crypt German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Attic Red-Figure Statuette Kantharos Fragment. Attributed to Onesimos (Greek (Attic), active 500 - 480 B.C.)

The Legend of San Augustine Circle Pedro Nolasco y Lara (Peruvian). The Legend of San Augustine, 18th century. Oil on canvas, 65 1/2 x 43 3/4in. (166.4 x 111.1cm). European Art 18th century

Lady in Black Emil Fuchs (American, born Austria, 1866-1929). Lady in Black, 1901. Oil on canvas, 46 15/16 x 36 15/16 in. (119.2 x 93.8 cm). American Art 1901

Fragment. Dimensions: 21 5/8 in. high 2 3/4 in. wide (55 cm high 7 cm wide). Date: 3rd-4th century. Museum: Metropolitan Museum of Art, New York, USA.

Attic Red-Figure Kylix Fragment. Unknown

Fragments from a Book of the Dead Fragments from a Book of the Dead, ca. 1539-1190 B.C.E. Papyrus, ink, Glass: 12 3/16 x 13 1/2 in. (31 x 34.3 cm). Egyptian, Classical, Ancient Near Eastern Art ca. 1539-1190 B.C.E.

The Fugitive, Study for Timon of Athens Thomas Couture (French, 1815-1879). The Fugitive, Study for Timon of Athens, ca. 1857. Oil on canvas, 25 7/8 x 33 3/8 in. (65.7 x 84.8 cm). Within months of his arrival in Paris, Francisco Oller entered the studio of the popular painter Thomas Couture, who completed this study from life at about the same time. Couture taught the importance of drawing, anatomy, and classical proportions, the traditional European art-school curriculum dating back to Italian academies in the Renaissance. His painting style was a combination of the real and the ideal, and he trained students to reproduce the wonders of nature and ideas of our own time,” though never to the degree of Oller’s other great mentor in Paris, Gustave Courbet. Oller submitted two paintings to the 1865 Paris Salon exhibition as a pupil of Couture. Pocos meses después de su llegada a París, Francisco Oller ingresó al taller del popular pintor Thomas Couture, quien completó este estudio en vi

Design for Dolkschede with soldier, master of the horse heads, 1500 - 1599 print Soldier is stopping sword in Schede, man beheaded at his feet. Ornamentation with plants and fantasy bees. Low Countries paper engraving plants; vegetation (+ ornamental variants of plants). violent death by beheading

Fragment. Dimensions: 11 5/16 in. high 3 1/16 in. wide (28.8 cm high 7.7 cm wide). Date: 6th century. Museum: Metropolitan Museum of Art, New York, USA.

Three Fragments from an Attic Black-Figure Calyx Krater. Rycroft Painter (Greek (Attic))

Stencil 19th century Japan. Stencil 70719

Altar Cloth. Germany or Switzerland. Date: 1583. Dimensions: 95.45 x 155 cm (37 5/8 x 61 in.). Linen, plain weave; embroidered with linen and silk. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

Tapestry Fragment with Figures. Culture: Chimú. Dimensions: Overall: 3 x 5 5/16 in. (7.62 x 13.55 cm)Other: 3 in. (7.62 cm). Date: 12th-15th century. Museum: Metropolitan Museum of Art, New York, USA.

The Hudson, Storm King, 1871 (from Sketchbook) ca. 1870 Daniel Huntington American The leading portraitist in New York during the post-Civil War period--and president of the National Academy of Design from 1862 to 1870 and from 1877 to 1890--Daniel Huntington was a conservative painter, a man highly respected by his clients and colleagues throughout his long career. Although he traveled widely and frequently during the mid- and late nineteenth century, he shunned new artistic concepts and styles. As a staunch academician in technique and manner, Huntington understood that proper draftsmanship was at the core of accomplished painting. He sketched throughout the course of his life and his extant drawings number over a thousand. This page is from one of Huntingtons sketchbooks that contains forty-one drawings in graphite, some in a panorama format. The sketches are primarily of scenic locations in New York State including, Cornwall, Walton, and Mohonk subjects. Many of the drawings are d

Venusgürtel (Cestum veneris), eine Ordnung von Rippenquallen, digital restaurierte Reproduktion einer Originalvorlage aus dem 19. Jahrhundert, genaues...

Attic Red-Figure Rhyton or Kantharos Fragment. Attributed to Euthymides (Greek (Attic), active 515 - 490 B.C.)

Net 5th-7th century. Net 445898

Fragment of a Tunic 3rd-4th century. Fragment of a Tunic 443505

Draw Shave. Dated: 1938. Dimensions: overall: 26.2 x 44.5 cm (10 5/16 x 17 1/2 in.). Medium: watercolor, graphite, and pen and ink on paperboard. Museum: National Gallery of Art, Washington DC. Author: Robert Tardiff.

Mrs. Sylvester (Abigail Pickman) Gardiner John Singleton Copley (American, 1738-1815). Mrs. Sylvester (Abigail Pickman) Gardiner, ca. 1772. Oil on canvas, 50 3/8 x 40 in. (128 x 101.6 cm). In these two paintings, Abigail Pickman and Elizabeth Goldthwaite sat for their marriage portraits. As was typical of upper-class white women in the colonial United States, they likely did not control how they were represented in these images, which were intended to project the familys stability and wealth. Before the American Revolution, the Boston painter John Singleton Copley was the most sought-after artist in the country. Copleys portraits, highly regarded for their skillful rendering of luxurious items such as silks and pearls, were synonymous with the tastes of the eighteenth-century social elite, both in the United States and England. American Art ca. 1772

Portrait of a Man Attributed to Pietro di Cristoforo Vannucci, called Pietro Perugino (Italian, Umbrian, c. 1450-1523). Portrait of a Man, ca. 1490s. Tempera and oil on panel, 22 7/8 x 17 1/2 in. (58.1 x 44.5 cm). European Art ca. 1490s

Border. Italy, probably Genoa. Date: 1625-1650. Dimensions: 8.8 x 92 cm (3 1/2 x 36 1/4 in.)weft repeat: approx. 6.95 cm (2 5/8 in.). Gold-gilt-silver-and-copper-metal strip and gold-gilt-silver-and copper-metal-strip-wrapped silk, bobbin straight lace. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

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