Decorative Porcelain Dishes

A collection of intricately designed porcelain dishes featuring romantic and scenic motifs, employing vibrant colors and detailed illustrations from various cultural influences.

Bowl with Ships and Dutchmen, 18th century, Unknown Japanese, 6 1/8 × 13 1/4 × 13 1/4 in. (15.56 × 33.66 × 33.66 cm), Imari ware; porcelain with overglaze enamels, Japan, 18th century, The technique used to decorate this bowl is known as iro-e (colored pictures). Motifs and patterns are painted with colored glazes onto previously glazed and fired ceramics, which are then fired again at a lower temperature so the color melts onto the underglaze. The Chinese developed this method in the 1100s, and it was introduced to Japan about five hundred years later.

Saucer-dish with incised floral scrolls and a courting couple. Dish of porcelain, painted in underglaze blue and on the glaze blue, red, pink, green, yellow, black and gold. The front in China decorated with ingrangled flower reflections, a medallion with napkin and on the inner edge a tire with napkin. Decorated in Europe with a loving couple in the medallion; The wall subdivided by flower drinks in four cartouches with a lady, possibly personifications. A crack in the edge. Old label on the underside with 'exhibition of old art / Rijksmuseum 1929 / Stodel'. Decorated in Europe.

Bowl with Ships and Dutchmen, 18th century, Unknown Japanese, 6 1/8 × 13 1/4 × 13 1/4 in. (15.56 × 33.66 × 33.66 cm), Imari ware; porcelain with overglaze enamels, Japan, 18th century, The technique used to decorate this bowl is known as iro-e (colored pictures). Motifs and patterns are painted with colored glazes onto previously glazed and fired ceramics, which are then fired again at a lower temperature so the color melts onto the underglaze. The Chinese developed this method in the 1100s, and it was introduced to Japan about five hundred years later.

PLATO - CERAMICA DE PUENTE DEL ARZOBISPO (TOLEDO). Location: MUSEO DEL PUEBLO ESPAÑOL, MADRID, SPAIN.

. Dish of porcelain with raised wall and sloping edge, painted in underglaze blue and on the glaze blue, red, green, yellow, eggplant, black and gold with flower branches and river landscapes. The dish is covered with bleu poudré (powder blue) with in gold flower branches on the wall, on the edge lobby cartouches with flowering plants; On the flat a cartouche with a brace-shaped border filled with a river country landscape with people, pavilions, mountains and trees; On the wall scalloped cartouches with alternating a river landscape and a flower branch with rocks; On the back three times a flower drink. Marked on the bottom with a diamond in a double circle. A chip in the edge; Chip in the foot ring. Bleu poudré with famille verte.

. Dish of Faïence. Blue painted, with the show of the blind healing. The wide edge is painted multi-colored, four Christian virtues depicted in four cartouches, presumably Caritas, Fides, Justitia and Spes

Plate, painted with presentation of Christ and the adulterous woman. Plate of Faïence, painted in blue with a representation of Christ and the adulterous woman.

Octagonal plate with a water landscape, anonymous, c. 1735 - c. 1750 Octagonal plate of porcelain, painted on the glaze in red, black and gold. On the flat a river landscape with working people in rice fields, cattle, rocks and trees; the wall with a decorative band; The edge with servetwork containing eight cartouches with or two scratches, or birds with a branch, or a river landscape. Encre de Chine. China porcelain. glaze. gold (metal) painting / gilding / vitrification Octagonal plate of porcelain, painted on the glaze in red, black and gold. On the flat a river landscape with working people in rice fields, cattle, rocks and trees; the wall with a decorative band; The edge with servetwork containing eight cartouches with or two scratches, or birds with a branch, or a river landscape. Encre de Chine. China porcelain. glaze. gold (metal) painting / gilding / vitrification

. Elongated, octagonal dish of porcelain, painted on the glaze in blue, red, pink, green, yellow, black and gold. On the flat a seated Chinese lady with two servants. A Spearhead border on the wall. The edge with four cartouches with landscapes. The cartouches on the long side with the arms of the Gordon and Forbes families. The weapon is divided into four courses with Gordon in 1. and 4. with three boar heads against a blue background; 2. And 3. Forbes with three cups on a light blue background. On the other side on the edge the helmet sign, an arm with a sword and the inscription 'Corde Manuque'. Weapon porcelain with email colors.

Plate, Late sixteenth century - XVII century, Ceramics (tricolor series, crockery decorated in blue, orange and black, with a lion surrounded by plant motifs), Talavera de la Reina or Puente del Arzobispo (Toledo), Diameter: 33, 4 cm. Museum: Museo Fundación Francisco Godia, Barcelona, Cataluña, España.

Dish with childhood of Bacchus probably 19th century Manner of Bernard Palissy French. Dish with childhood of Bacchus. French. probably 19th century. Lead-glazed earthenware. Ceramics-Pottery

Jean Romilly (1714-1796). Gold and enamel watch: delicate attention ", Paris (18th century), Louis XV era. Museum of Fine Arts of the city of Paris, Petit Palais. CAUTION DELICATE, Bijou, Email, Louis XV time, Eventail, Flute, Galant, Galantrie, Horlogerie, Playing, Watch, Music, Or, 18th, 18th 18th 18th 18th 18th century

Armorial dish: Supper at the House of Simon the Pharisee 1528 workshop of Maestro Giorgio Andreoli Italian Robert Lehman amassed a singularly impressive collection of maiolica produced in the renowned workshops of Italy during the High Renaissance. The core of the collection derives from the first half of the sixteenth century, when both ornamentation and painting reached a pinnacle. During this period a new and soon dominant style emerged, "istoriato", which featured complex narrative compositions. The mastery of figure and perspective drawing characteristic of this style recalls the work of 16th-century painters.This large plate representing the Magdalen's visit to Christ as he dined with Simon the Pharisee is a splendid example of this decorative tradition. The composition, which captures the moment at which the Magdalen anoints Christ's feet with her tears, precipitating his forgiveness, was adapted from Marcantonio Raimondi's engraving of the subject, a common source for maiolica

Folding range with leaf on which in aquarel Vertumnus & Pomona, on a sliced and made of silver and gold supplied with pearl, anonymous, c. 1750 Folding range with leaf on which in aquarel Vertumnus & Pomona, on a sliced and made of silver and gold supplied frame of pearl. 22 consecutive legs, cut out and edited ajour. The parchment leaf is painted with watercolor. In his 'Metamorphoses' (XIV: 623-771), Ovidius (43 BC) tells of the countless forms that the God Vertumnus had to win before he could win the NimF Pomona. Only after he had made a plea for love in the form of an old woman and then took the form of a young man, Pomona became his. The front of the fan is a Bloemaert-like representation. On the back of the leaf are a shepherd and a herdin shown in a Boucher-like performance. On the front of the leaf, a particularly finely painted, ornamental border under which two mermaids in the left corner and in the right corner a deer followed by a dog followed, for the transition between th

Platter. Nove (ośrodek ceramiczny ; ca 1700-ca 1900), factory

Plate (tondino). Artist: probably Maestro Giorgio Andreoli (Italian (Gubbio), active first half of 16th century). Dimensions: Diameter: 10 1/4 in. (26.1 cm). Date: ca. 1520. Museum: Metropolitan Museum of Art, New York, USA.

Dish with the arms of Namur, anonymous, c. 1700 - c. 1724 Porcelain saucer with ribbed wall and scalloped edge, painted in underly glaze blue and on the glaze blue, red, green, yellow, black and gold. On the flat in a medallion the weapon of Namur with the inscription 'Nameur', for the weapon of flower branches, two butterflies and two birds. The wall is divided into twelve petal subjects with alternating a flower vase and a person in a landscape; Between the compartments of servetwork. The back with two flower branches. Two cracks in the wall. Weapon porcelain with famille e -mail colors. China porcelain. glaze. cobalt (mineral). gold (metal) painting / gilding / vitrification Porcelain saucer with ribbed wall and scalloped edge, painted in underly glaze blue and on the glaze blue, red, green, yellow, black and gold. On the flat in a medallion the weapon of Namur with the inscription 'Nameur', for the weapon of flower branches, two butterflies and two birds. The wall is divided into t

Prudence. Artist: Andrea della Robbia (Italian, 1435-1525). Culture: Italian, Florence. Dimensions: Overall (confirmed): 64 3/4 in., 920 lb. (164.5 cm, 417.3 kg). Date: ca. 1475.Its large scale, bold design, and brilliant colors indicate that this roundel of Prudence was designed to be visible from a distance. The existence of three related roundels by Andrea della Robbia of other virtues -- Faith (Museu Calouste Gulbenkian, Lisbon), Temperance, and Justice (both Musée National de la Renaissance, Chteau d'Écouen) -- suggests that the group was once part of or intended to be part of a ceiling or wall decoration. The model for such a program would have been Luca della Robbia's allegorical virtues of 1461 - 62 on the ceiling of the chapel of the Cardinal of Portugal at the church of San Miniato al Monte, Florence.2 There, a domed ceiling centers on a glazed terracotta roundel of the Holy Ghost, which is surrounded by roundels of the four cardinal virtues that touch it at equidistant p

Roundel (tondo) ca. 1510-20 possibly workshop of Giovanni Maria Vasaro Regarded as one of the most beautiful pieces of maiolica (a refined tin-glazed pottery) ever made, this bowl is splendidly decorated with symbols of papal authority, such as keys and the tiara, and personal references to Pope Julius II della Rovere and his family, such as the oak tree. Julius probably commissioned the bowl for his supporter, the Bolognese envoy Melchiorre di Giorgio Manzoliwhose coat of arms appears at the lower edgeto commemorate the reestablishment of papal rule in Bologna in 1506. Giovanni Maria Vasaro, whose name is inscribed on the back, may have been the painter or the owner of the workshop in Castel Durante that produced the bowl.. Roundel (tondo). possibly workshop of Giovanni Maria Vasaro (Italian (Castel Durante), active early 16th century). Italian, Castel Durante. ca. 1510-20. Maiolica (tin-glazed earthenware). Ceramics-Pottery

PLATO CERAMICA VERDE DE PATERNA - SIGLO XV -DAMAS HABLANDO. Location: MUSEO DE CERAMICA GONZALEZ MARTI. Valencia. SPAIN.

For a long time; Naples, Battaglia, Gaetano (Fl. 1850-1885); 2 after. 19th century (1800-00-00-1900-00-00);

Dish with Amata and Turnus; Faenza (probably), Emilia-Romagna, Italy; about 1515 - 1525; Tin-glazed earthenware; 5.4 x 24.6 cm (2 1,8 x 9 11,16 in.)

PLATO DE TALAVERA - SIGLO XVII - CAZA DEL LOBO. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Window with three men and two women who talk and music, Anonymous, 1500 - 1550 A round stained glass window with the presentation of five people; Two women and three men who talk or make music. Northern Netherlands glass. lead (metal). silver stain. A round stained glass window with the presentation of five people; Two women and three men who talk or make music. Northern Netherlands glass. lead (metal). silver stain.

Plaque, anonymous, c. 1750 - c. 1780 Plaque of Faïence. Multicolored painted. Delft . Plaque of Faïence. Multicolored painted. Delft .

Diamond with the lost son. Diamond with the lost son. Four women and a man sitting at a table. The man and one of the women caress each other. A set table for them.

Louis Valtat (1869-1952). "Plate". Museum of Fine Arts of the City of Paris, Petit Palais.

Fragment of a Bowl 12th-13th century. Fragment of a Bowl. 12th-13th century. Stonepaste; overglaze painted (mina'i). Attributed to Iran, Rayy. Ceramics

Plate, with a boy and a dog on the flat, Peter Regout, 1878 Plate of earthenware with black transfer decor, brown painted. On the flat a representation of a boy and a fiddling dog for a fence and a sign on which the text: Notice. The edge is equipped with imitation braid in relief. Maastricht . painting Plate of earthenware with black transfer decor, brown painted. On the flat a representation of a boy and a fiddling dog for a fence and a sign on which the text: Notice. The edge is equipped with imitation braid in relief. Maastricht . painting

Dish 18th century European, with Dutch decoration The gift of the Hans Syz Collection in 1995 endowed the Museum with nearly three hundred examples of European and Asian ceramics meticulously acquired by Swiss-born collector Dr. Syz (1894-1991) to chart the migration of models and patterns from East to West. Documenting a continuous process of influence and adaptation, these pieces provide a discriminating review of the nuances of stylistic change resulting from three centuries of trade.. Dish. European, with Dutch decoration. 18th century. Hard-paste porcelain. Ceramics-Porcelain

Plate first half 18th century Castelli. Plate. Italian, Castelli. first half 18th century. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Dish with the coat of arms of Pope Leo X, anonymous, c. 1513 - c. 1521 Round dish of multicolored painted majolica, strewn with stars and clouds on a with a dark blue stock. In the middle, the weapon of the Gender De Medici is painted, above which a lion's head, two cruised keys and a tiara. Angels around winged around; Eight music -making and two with folded hands, standing on clouds. At the top four angel heads. Blue concentric circles are painted on white stock on the back. Caffagiolo earthenware. tin glaze. lead glaze majolica Round dish of multicolored painted majolica, strewn with stars and clouds on a with a dark blue stock. In the middle, the weapon of the Gender De Medici is painted, above which a lion's head, two cruised keys and a tiara. Angels around winged around; Eight music -making and two with folded hands, standing on clouds. At the top four angel heads. Blue concentric circles are painted on white stock on the back. Caffagiolo earthenware. tin glaze. lead glaze majoli

Unknown (n. - d.), Dish (main title). Ceramics, porcelain, polychrome enamels .. Petit Palais, Museum of Fine Arts of the City of Paris.

Platter from Nevers, France, with landscape scene of boy and dogs at river, within border of cupids, birds, and flowers. Hand-finished chromolithograph from Ris Paquot's General History of Ancient French and Foreign Glazed Pottery, Chez l'Auteur, Paris, 1874.

Dish or plate with Hannibal Encountering Roman Troops in Italy. Artist: probably workshop of Guido Durantino (Italian, Urbino, active 1516-ca. 1576). Culture: Italian, Urbino. Dimensions: Overall: 2 7/8 × 15 3/4 in. (7.3 × 40 cm). Date: ca. 1550-60. Museum: Metropolitan Museum of Art, New York, USA.

Alexandre (fan). The coronation of the rose. Folded event decorated on the face of a gouache scene of the coronation of the Rosière and on the back of a landscape of undergrowth and pond; mother -of -pearl frame decorated with a varnished cartel in the center of the throat; Figures "L" and "C" in golden metal on the counterpayer. Face S.B.G.: Alexandre. Back S.B.G.: Lying. Face in gouache and golden paper, back in gouache and gold cream paper, golden paper edge, pearl, engraved and golden mother -of -pearl, varnished throat, plumes with application of "c" and "l" in gold metal, rivet Metal ended with a rhinestone. Around 1870. Galliera, fashion museum of the city of Paris. In a bucolic setting, a squire in his carriage congratulates a rosière in front of an assembly, on the left, peasant and reaper, on the right, young women with flower baskets. Accessory, rosiere coronation, cream, dore, paper back, folds folded, female, leaf, face, throat varnished, serious, metal dore, mount, metal,

Dish 1725-1730 Vienna. A significant number of Du Paquier porcelains are indebted to Chinese or Japanese porcelain prototypes; a Japanese Imari plate (or a Chinese interpretation of the Imari pattern) clearly served as a model for this very large dish, suggesting the presence of private collections of Asian porcelain in Vienna in the 18th century. The scale of this dish, as well as the technical mastery required to fire the underglaze blue, iron-red enamel, and gilding, attest to the ambitious goals set and achieved by the factoryís director, Claude Innocent Du Paquier.. Hard-paste porcelain, underglaze blue, iron red enamel, and gilding . Du Paquier Porcelain Manufactory (Manufacturer)

Plate with ribbed edging with baroque decorations and vine branch, depicting Bacchus in the centre, crackle glazing, ceramic, 36 cm, Ceramiche Artistiche Emanion manufacture, Palermo. Italy, 20th century.

Covers cover from the site for a obstetrician unknown

Italy, Lazio, Canino, Black-figure plate painted by the Painter of Tityos from the Grave no.177 in Vulci, circa 520 B.C.

Folding range with sheet of thin leather on which in aquarel a wedding scene, on the ramp of ivory with 'métal and quatre couleurs', anonymous, c. 1775 - c. 1780 Folding range with leaf of thin leather on which in aquarel a few in classic clothing is led to a wedding salstary by Hymen. The group is surrounded by abusing and sacrificing putti and a wandering man and woman, with a laurel branch and a horn of abundance with fruits. They probably symbolize prosperity and fertility that guide the couple. The classicitic element is emphasized by the temple on the left, the garden vase on the wall on the right and the vases above the medallions on both sides. In these medallions of love symbols. On the back of the leaf a branch with flowers. A marriage proposal is perhaps shown in the frame in the middle of the frame. The outdoor legs are dominated by country life. See Du Mortier, 1992 The frame has 14 not contiguous legs of ivory with 'Métal and Quatre Couleurs'. The outdoor legs are opened

Plate ca. 1791 Sèvres Manufactory French Porcelain decorated with a black ground in imitation of Asian lacquer was produced at Sèvres for about a fifteen-year period beginning in 1790. Furniture decorated with imported black lacquer panels saw a resurgence of popularity in the last two decades of the eighteenth century, and the Sèvres factory's efforts to simulate black lacquer on porcelain were probably stimulated by this renewed general interest in lacquer decoration. Black-ground Sèvres porcelain was decorated with chinoiserie scenes executed in gold, which was often applied in subtle tones of yellow, green, and red. Small decorative highlights were often executed in platinum, and the ability to apply platinumfirst mastered by the factory in 1790may have been an impetus to produce these lacquer-inspired pieces.[Jeffrey H. Munger, 2015. Plate. French, Sèvres. ca. 1791. Hard-paste porcelain. Ceramics-Porcelain

Footed dish with Diana and Actaeon ca. 1525 Artist sometimes signing FR, perhaps Fra Xanto Avelli da Rovigo The painter has decorated the shallow, rimless bowl of this footed dish with a scene from Ovids Metamorphoses. The uninterrupted composition suggests that the bowl would have arrived at the table already laden (probably with fruit or sweetmeats), at first concealing the story. As diners consumed the treats, they would gradually reveal the sad tale of Actaeon, a hunter transformed into a stag as punishment for having glimpsed the goddess Diana at her bath.. Footed dish with Diana and Actaeon. Italian, probably Urbino. ca. 1525. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Oval Dish with Leda and the Swan. Palissy (after), Bernard (France, 1509-1590). France, 1560-1600. Furnishings; Serviceware. Lead-glazed earthware, Palissy ware

Apply, multi -colored painted with a landscape with figures, anonymous, c. 1750 - c. 1800 Apply of multicolored painted Faïence. The list is volute -shaped in relief. A landscape is painted on the Applician in which a sitting man and two standing women. Delft earthenware. tin glaze. Apply of multicolored painted Faïence. The list is volute -shaped in relief. A landscape is painted on the Applician in which a sitting man and two standing women. Delft earthenware. tin glaze.

Display Plate with the Bust of a Woman 1490-1535 Italy. Tin-glazed earthenware with copper luster (maiolica) .

Plate probably early 19th century Imperial Porcelain Manufactory The gift of the Hans Syz Collection in 1995 endowed the Museum with nearly three hundred examples of European and Asian ceramics meticulously acquired by Swiss-born collector Dr. Syz (1894-1991) to chart the migration of models and patterns from East to West. Documenting a continuous process of influence and adaptation, these pieces provide a discriminating review of the nuances of stylistic change resulting from three centuries of trade.. Plate 208261

Design for Ceiling: Apollo and the Hours. Artist: Angelica Kauffmann (Swiss, Chur 1741-1807 Rome). Dimensions: Image (diameter): 11 5/16 in. (28.8cm)Sheet: 12 7/8 x 12 15/16 in (32.7 x 32.8 cm). Former Attribution: Formerly attributed to Giovanni Battista Cipriani (Italian, Florence 1727-1785 Hammersmith (active London)). Date: 1760-1807. Museum: Metropolitan Museum of Art, New York, USA.

Dish with The Woman of Sestos and the Eagle and arms of the Pucci family 1532 Painted by Fra Xanto Avelli da Rovigo An inscription on the reverse of this dish identifies the storya loyal eagle choosing to die alongside the maiden who raised himand its source, the Roman author Pliny the Elder. The bystanders on the rim react to the action that would have been entirely covered by food. With the dish empty, we see how the painter cleverly used the convex shape to promote a sense of recession within the scene.. Dish with The Woman of Sestos and the Eagle and arms of the Pucci family 197226

Plate with portrait bust, c. 1750, 1 5/8 x 14 in. (4.13 x 35.56 cm), Porcelain, China, 18th century, The portrait on this plate is unidentified, but may represent Queen Caroline of England, wife of George II, as all known services with this border were made for the English market. The crosshatched ground indicates that the source was an engraving. The border scenes represent Plymouth Sound and the Chinese harbor of Whampoa, in the Pearl River.

Plate with representation of Eliezer and Rebecca, Genesis 24, Anonymous, c. 1740 - c. 1780 Plate of Faïence. With the presentation of Eliezer and Rebecca, Genesis 24. Delft (possibly) . Plate of Faïence. With the presentation of Eliezer and Rebecca, Genesis 24. Delft (possibly) .

Plate (tagliere). Artist: probably workshop of Guido Durantino (Italian, Urbino, active 1516-ca. 1576). Culture: Italian, Urbino. Dimensions: Diam. 9 5/16 in. (23.7 cm). Date: ca. 1550-60. Museum: Metropolitan Museum of Art, New York, USA.

Jean Romilly (1714-1796). Gold and enamel watch: "Harmonie", Paris era Louis XV, 18th century. Museum of Fine Arts of the City of Paris, Petit Palais. Jewel, child, child, Louis XV time, watchmaking, harmony, watch, music, gold, partition, piano, 18th century 18th 18th 18th 18th 18 century

Elder of the Apocalypse ca. 1100 French This figure can be identified as one of twenty-four elders who surround Gods throne in the Apocalypse (Book of Revelation). The text specifies that they hold harps, but medieval images portray them with a variety of musical instruments, here a viol. Elders never appear as single figures, so this roundel must have been part of a larger, imposing work of art, perhaps an altar, created for the abbey of Conques under Abbot Bégon III (r. 1087-1107).. Elder of the Apocalypse 466109

Tondo. Buglioni, Benedetto (1459-1521), sculptor

Dish (piatto): Vulcan forging an arrow for Cupid ca. 1530 the "Milan Marsyas" Painter. Dish (piatto): Vulcan forging an arrow for Cupid. the "Milan Marsyas" Painter (Italian (Urbino), active first half of the 16th century) , Urbino. ca. 1530. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Mirror; Minerva Visits the Muses on Mount Helicon early 17th century Suzanne de Court French. Mirror; Minerva Visits the Muses on Mount Helicon 461205

Plate Depicting a Woman Playing Tambourine ca. 1600 In the seventeenth century, the popularity of images of human figures, animals, and inanimate objects such as ships on Iznik pottery increased. Some of these motifs may have held deeper significance. The young woman with a tambourine, for example, may symbolize the sunsometimes referred to in Ottoman poetry as a tambourine. Listen to experts illuminate this artwork's story Listen Play or pause #6784. Plate Depicting a Woman Playing Tambourine Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Plate Depicting a Woman Playing Tambourine 451943

Cistern ca. 1550 or later Interior decoration after an engraving by Marcantonio Raimondi. Cistern. Interior decoration after an engraving by Marcantonio Raimondi (Italian, Argini () ca. 1480-before 1534 Bologna ()). Italian, Urbino. ca. 1550 or later. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Anonymous / 'Fan with ivory ribs'. XVIII century. Museum: Museo del Prado, Madrid, España.

Dish with Laozi Riding a Water Buffalo (interior); Pavilion and Immortals in Rocky Landscape (exterior), 1723-35. China, Jiangxi province, Jingdezhen kilns, Qing dynasty (1644-1911), Yongzheng reign (1723-35). Porcelain with underglaze blue decoration; diameter: 19.9 cm (7 13/16 in.); overall: 7.2 cm (2 13/16 in.).

Memorial for George Washington (1732-1799), LL.D.1781. Artist, attributed to: Samuel Folwell, American, 1764-1813

Plate (one of two) ca. 1740 After a design by Pieter Boel. Plate (one of two) 202464

Square with three men and two women talking and making music. A round stained glass window with the representation of five people; Two women and three men who talk or make music.

Plate with Jacob Is Shown Joseph's Coat. Artist: Based on a woodcut by Bernard Salomon (French, ca. 1508-ca. 1561); Probably painted by Gironimo Tomasi (Italian, active Urbino, Albisola, and Lyons, died 1602). Culture: Italian, probably Urbino. Dimensions: Overall (confirmed): 1 1/4 × 10 7/8 in. (3.2 × 27.6 cm). Date: ca. 1560-75.The scene is based on a woodcut in an illustrated Bible published in Lyons in 1553 and republished in Italian in 1554. Similar work was done in Urbino, Pesaro, and Lyons itself. The more meager quality of the tin glaze suggests Venice as the probably place of manufacture of this example. Museum: Metropolitan Museum of Art, New York, USA.

Dawn. Date: 1892. watercolor. Museum: Smithsonian American Art Museum.

Folding range with paper leaf on which in Gouache 'the judgment of Paris', on a frame of pearl ajour and cut into relief with 'Métal and Quatre Couleur', Anonymous, c. 1780 - c. 1790 Folding range with paper leaf on which in Gouache 'the judgment of Paris', on a frame of pearl ajour and cut into relief with 'Métal and Quatre Couleur'. In particular, finely painted, central field, the royal son and shepherd Paris the goddess Aphrodite designates as the winner of the beauty match that had fought between her and the goddesses Athena and Hera. Hera with the Pauw and Athena with helmet and shield look from a cloud in the distance. The story about 'the judgment of Paris' that in the 1st century AD. In the course of the 16th, 17th and 18th centuries, Lucian van Samosata (ca. 120-180 AD) had been booked many times in Dutch translations in the course of the 16th, 17th and 18th centuries. At Van Mander (1548-1606), Krul (1601/2-1646) and Poot (1689-1733) it received a moralizing tone and was a b

Landscape at the edge of a river Maria Malibran (1808-1836). "Landscape at the edge of a river". Black pencil on paper, 1st half of the nineteenth sicle. Paris, muse of romantic life.

Panel, anonymous, 1700 - 1800 Square panel decorated with enamel cloisonné. The panel has a Western wooden base, so that it can function as a fireplace screen. China wood (plant material). Square panel decorated with enamel cloisonné. The panel has a Western wooden base, so that it can function as a fireplace screen. China wood (plant material).

Bliżej Kultury Hadrianus, Mint of Rome

Plaque (one of a pair) ca. 1755 Alcora Manufactory. Plaque (one of a pair). Spanish, Alcora. ca. 1755. White enameled earthenware. Alcora Manufactory (Spanish, 1727-1895). Ceramics-Pottery

. Dish of porcelain, painted in underglaze blue. On the flat of the dish a representation of Neptune, the god of the sea, with its trident moving on dolphins in the water, accompanied by tritons and numbers; the wall with napkin; On the edge three flower branches and a bond with napkin. Some chips in the edge. European presentation in underglaze blue.

Pierre Raymond (1534-1578). Cutted cutting: Dido feast and inées (interior of the cut). Museum of Fine Arts of the City of Paris, Petit Palais. 26307-2 Cup on foot, feast, interior, open, mythological character, Trojan prince, Tyrian princess, meal, rebirth

Dish, part of a set, painted with bird and violins, N.V. Haagsche Plateelfabriek Rozenburg, C.W.J. 't Hart, 1913

Portrait of King Charles II (1630-1685) King of England, King of Scotland and King of Ireland, on a dish. By Arnold Taylor Bequest. Dated 17th Century

The Dead Christ with the Virgin, Saint John, and Angels. Culture: French. Dimensions: Overall: 2 7/16 x 2 5/16 x 3/8 in. (6.2 x 5.8 x 1 cm)center medallion: 1 15/16 in. (5 cm). Date: ca. 1390-1405.This medallion reveals how close metalwork and painting were at the beginning of the fifteenth century: such images, often referred to in inventories as tableaux d'or, use the same pictorial conventions as panel paintings to engage the viewer. An object for private devotion, it encouraged the owner to reflect on and emulate the suffering of the holy figures. Mary and John, shown half-length, hold the dead Christ upright against the edge of the sarcophagus, a scene not mentioned in the Gospels. An angel hovers above Christ's head, with the crown of thorns in his hands. Two other angels hold a curtain behind and in front of the three main figures, both concealing and unveiling them, as in a vision. Museum: Metropolitan Museum of Art, New York, USA.

Fire screen (écran) ca. 1786 Georges Jacob French On a visit to the royal palace of Fontainebleau on September 14, 1787, Arthur Young described Marie-Antoinettes then recently redecorated boudoir as a delicious little room with exquisite painting, observing that “nothing can exceed the extremity of ornament that is here with taste bestowed.”[1 Designed by the architect Pierre Rousseau (1751-1829 ), the queens boudoir at Fontainebleau is, indeed, a jewel box of a room. Its large mirrors alternate with shimmering mother-of-pearl-like boiserie painted by Michel-Hubert Bourgeois and his assistant Jacques-Louis-François Touzé with lighthearted arabesques and flowers. An important aspect of the interior decoration was the matching seat furniture supplied by Georges Jacob and clearly intended to harmonize with the gold and silver tones of the decor. This screens gilded frame incorporates silvered highlights, now much worn, such as the wisps of ivy trailing around the uprights shaped like

Has, Jean-Baptists (Dit L'ancien) (N.1745-10-15 - D.1811-01 (Titre Principal), 1780. Line. Pierit Palace, museum this Beaux-Arts the La La had a lot of the paris.

Dish with figures late 17th-early 18th century China. Dish with figures. China. late 17th-early 18th century. Porcelain painted in underglaze cobalt blue (Jingdezhen ware). Qing dynasty (1644-1911), Kangxi period (1662-1722). Ceramics

Tondo with the mythological scene Argonauts at Fineus Gentilli, Carmine (1678 1763)

Roundel with Mary of Egypt crossing the Jordan. Culture: South Netherlandish. Dimensions: Overall: Diam. 9 1/4 x 1/4 in. (Diam. 23.5 x 0.6 cm). Date: ca. 1525. Museum: Metropolitan Museum of Art, New York, USA.

EVENTAIL. "Foundation of flags, portraits of Russian sovereigns staying in France". Plume drawing and watercolor, white lacquered wood. Paris, Carnavalet museum. 99059-29 Fashion accessory, Eventail

Plate ca. 1791 Sèvres Manufactory French Porcelain decorated with a black ground in imitation of Asian lacquer was produced at Sèvres for about a fifteen-year period beginning in 1790. Furniture decorated with imported black lacquer panels saw a resurgence of popularity in the last two decades of the eighteenth century, and the Sèvres factory's efforts to simulate black lacquer on porcelain were probably stimulated by this renewed general interest in lacquer decoration. Black-ground Sèvres porcelain was decorated with chinoiserie scenes executed in gold, which was often applied in subtle tones of yellow, green, and red. Small decorative highlights were often executed in platinum, and the ability to apply platinumfirst mastered by the factory in 1790may have been an impetus to produce these lacquer-inspired pieces.[Jeffrey H. Munger, 2015. Plate 202669

Plaque with Bacchantes and Satyr. Wedgwood Manufactory; England, founded 1759. Date: 1800. Dimensions: 30.2 × 39.4 × 4.1 cm (11 7/8 × 15 1/2 × 1 5/8 in.). Stoneware (jasperware). Origin: Burslem. Museum: The Chicago Art Institute, Chicago, USA.

Wide-rimmed bowl with Vulcan Forging Arms with Venus and Cupid ca. 1528-30 Fra Xanto Avelli da Rovigo. Wide-rimmed bowl with Vulcan Forging Arms with Venus and Cupid 188903 Artist: Fra Xanto Avelli da Rovigo, ca. 14861582, Wide-rimmed bowl with Vulcan Forging Arms with Venus and Cupid, ca. 152830, Maiolica (tin-glazed earthenware), Overall (confirmed): 1 1/2 10 1/2 in. (3.8 26.7 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1904 (04.9.19)

Pleated fan, Skin leaf painted with gouache; carved, gilded and painted sticks, Pleated fan. Obverse shows a King returning from war being greeted by a group of women dancing and playing musical instruments. Trophies of musical instruments to the right and left. On the reverse, two women in a landscape setting. Sticks are carved (à jour), gilded and painted. At center are two couples: the men are standing, the women are seated. Red jewels set in each end of the pin., possibly Italy, possibly Holland, mid- 18th century, costume & accessories, Pleated fan

SHAKESPEARE, William (1564-1616). English poet and playwright. Illustration for William Shakespeare's work 'A Midsummer Night's Dream', written in 1594. Scene of Puck and the fairies. Engraving from an edition of all the works by Shakespeare published in 1831. Engraving.

Plate. unknown, factory

Plate from Sinceny, France, with Chinese landscape of women in a riverboat surrounded by insects and flowers. Hand-finished chromolithograph from Ris Paquot's General History of Ancient French and Foreign Glazed Pottery, Chez l'Auteur, Paris, 1874.

Dish with Japanese court woman and birds ca. 1750 Chelsea Porcelain Manufactory The gift of the Hans Syz Collection in 1995 endowed the Museum with nearly three hundred examples of European and Asian ceramics meticulously acquired by Swiss-born collector Dr. Syz (1894-1991) to chart the migration of models and patterns from East to West. Documenting a continuous process of influence and adaptation, these pieces provide a discriminating review of the nuances of stylistic change resulting from three centuries of trade.. Dish with Japanese court woman and birds. British, Chelsea. ca. 1750. Soft-paste porcelain painted with colored enamels over transparent glaze. Chelsea Porcelain Manufactory (British, 1744-1784). Ceramics-Porcelain

Engraving on mother-of-pearl showing the ride duel between Burggraaf de Breauté and Gerard Abrahams 'Lekkerbeetje' on the Vughtse Heide on February 5, 1600. Engraving on oval pearly maker in a golden edge in a black-dyed wooden table with submitted golden inside and outside profiles. The show is that of an equestrian fight with left and right in the background two bazing blowing herauts and a city on the horizon. Signature.

PLATO CATALAN CON PERFIL DE UN CABALLERO CON COTA DE MALLA - SIGLO XV-XVI. Location: MUSEO DE CERAMICA-CERAMICA CATALANA. Barcelona. SPAIN.

Tobias and the Angel. Date/Period: Before 1811. Painting. Oil on oak panel. Height: 203 mm (7.99 in); Width: 208 mm (8.18 in). Author: Sir Peter Francis Bourgeois.

Cushion Cover. Manchu; China. Date: 1775-1800. Dimensions: 84.1 × 90.3 × 12.7 cm (33 1/8 × 35 1/2 × 5 in.). Silk, warp-float faced 7:1 satin weave; embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped silk in knot, satin, and stem stitches; laid work and couching. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

PLATO SEVILLANO DE CUERDA SECA CON UN BUSTO QUE PUEDE RECORDAR A FERNANDO EL CATOLICO -1500. Location: INSTITUTO VALENCIA DE DON JUAN-COLECCION. MADRID. SPAIN. FERNANDO EL CATOLICO (1452-1516) FERNANDO II ARAGO. FERNANDO II DE ARAGON (1452/1516) REY CATOLICO.

Sculptural group, Cast silver, diamonds, rubies, sapphires, Cast silver, jewel encrusted tableau showing Roman soldier in full regalia seated opposite Egyptian woman reclining on couch, and fanned by standing servant; small tripod table to right of couch, holding bowl of fruit or flowers and urn on shelf below. All on rectangular plinth., Austria, Germany, late 19th century, metalwork, Decorative Arts, Sculptural group

Plate ca. 1791 Sèvres Manufactory French Porcelain decorated with a black ground in imitation of Asian lacquer was produced at Sèvres for about a fifteen-year period beginning in 1790. Furniture decorated with imported black lacquer panels saw a resurgence of popularity in the last two decades of the eighteenth century, and the Sèvres factory's efforts to simulate black lacquer on porcelain were probably stimulated by this renewed general interest in lacquer decoration. Black-ground Sèvres porcelain was decorated with chinoiserie scenes executed in gold, which was often applied in subtle tones of yellow, green, and red. Small decorative highlights were often executed in platinum, and the ability to apply platinumfirst mastered by the factory in 1790may have been an impetus to produce these lacquer-inspired pieces.[Jeffrey H. Munger, 2015. Plate 202650

Przeszo Przyszoci unknown

Bacchus driving in a boxing trolley; Dishes: Landscapes with parades of Bacchus and its effect. Bacchus is accompanied by Saters and children with grape roses. One of 2 sheets.

Plate - "Niagara". Dated: c. 1936. Dimensions: overall: 20.3 x 25.4 cm (8 x 10 in.) Original IAD Object: 10 1/4" in diameter. Medium: black and white photograph. Museum: National Gallery of Art, Washington DC. Author: Helmut Hiatt.

Folded range, Facing decor: garlands of flowers with musical instruments between the 3 cartels, on the left and on the right, 2 loves in camaiau and in the center, a gallant scene in a park, a seated man and a shepherdess holding flowers, with A sheep and a house in the background. Gal1986.73.21 Face in fabricated paper mounted in English, golden paper edge, apparent gouache wooden strands, ditto back, gouache and gold, engraved and gilded with leaf (2 shades), ivory frame reflected, burgamed plumes, rivet in metal ended with a rhinestone

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