Textile Fragments from Different Cultures

A collection of textile fragments displaying intricate patterns and designs from Italian, Spanish, French, and ancient cultures, highlighting historical textile art.

Panel 1720-30 Italian. Panel 219761

Bobbin Lace Flounce: Punto di Milano, 18th century. Italy, Milan , 18th century. Lace, bobbin: linen; average: 33.7 x 348 cm (13 1/4 x 137 in.). Being the most prestigious material, lace was used extensively by the 1600s for altar linen and for trimming priest’s albs, often incorporating finely rendered religious images amid blossoming vines. This alb flounce depicts scenes from the Old Testament story of Joseph, whose jealous brothers sold him to a caravan bound for Egypt. Joseph later interpreted dreams of the pharaoh, who made him ruler. When famine in Canaan caused Joseph’s ten brothers to travel to Egypt in search of food, they bowed down to him. After he revealed his identity, he forgave his brothers and God saved the family.

Fragment. Dimensions: 8 1/4 in. high 8 1/4 in. wide (21 cm high 21 cm wide). Date: 4th century. Museum: Metropolitan Museum of Art, New York, USA.

Moonlight Ralph Albert Blakelock (American, 1847-1919). Moonlight, ca. 1885-1889. Oil on canvas, 27 1/16 x 32 in. (68.7 x 81.3 cm). Ralph Albert Blakelocks wide-ranging tours of the American West in 1869 and 1871 inspired him to paint Native subjects for many years. He was among the first painters to depart from a “documentary” treatment of Native Americans, choosing instead to describe them in vaguely readable groups set in dark and moody moonlit settings. This approach immediately marked his landscape settings as American but left the story line up to the active imaginations of his late nineteenth-century American audience. American Art ca. 1885-1889

Portrait of John Lane John Singleton Copley (American, 1738-1815). Portrait of John Lane, ca. 1770. Oil on canvas, 49 5/8 x 39 1/2 in. (126 x 100.3 cm). American Art ca. 1770

Fragment. Probably Chimú; Probably north coast, Peru. Date: 1470-1532. Dimensions: 111.8 x 40.6 cm (44 x 16 in.). Plain weave of paired warps with supplementary patterning and brocading wefts and supplementary patterning warps. Attched plain weave border and weft fringe. Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA.

Millefleurs ground with unicorn and other mythological beasts. unknown c. 1500-1525 Tapestry Dimensions: H 12'2" x W 9'3" Tapestry Materials/Techniques: unknown Culture: Southern Netherlands Weaving Center: unknown Ownership History: Count & Countess de Kermaingant coll., New York. Sold at American Art Association (New York) 11/27/1926, no.180 (Gothic Art). French & Co. Stag, dog, mythological beasts (cockatrice & griffin) & birds; cityscape at top Probably woven in Tournai. Fragment of tapestry; borders missing. No French & Co. stock sheet in archive, no stock number Related Works: Panels in set: GCPA 0236842-0236844

Millefleurs ground with armorial medallion. unknown c. 1500 Tapestry Dimensions: H 3'3" x W 22' Tapestry Materials/Techniques: unknown Culture: Southern Netherlands Weaving Center: unknown Field of flowers with 8 rabbits, unicorn, stag, hind, 5 large birds & 2 coats of arms within wreaths, flanked by helmets & halberds 2 fragments of a tapestry panel. Bennett, Tapestry San Francisco (1992), 86, 87, no. 19 Boccara, Belles heures de la tapisserie (1971), 37 Delmarcel, Bruges et la tapisserie (1987), 38, 39, fig. 18 V & A, Tapestry Collection (1980), 47-49, nos. 38, 39, pls. 58a, 58b, 59b Göbel, Wandteppiche I:2 (1923), figs. 251, 252, 254 Ricci, Twenty Renaissance Tapestries (1913), pl. XI Related Works: Stylistically similar tapestries: GCPA 0240120 & 0240130; Angers, Château d'Angers (from Church of Nôtre-Dame des Ardilliers, Saumur, see Göbel); Paris, private coll. (see Boccara); Zurich, Galerie Köller (see Delmarcel); Monza, "Millefleurs with St. John the Baptist"; Amsterdam, Rijksmu

Fragment. Dimensions: 8 in. high 8.00 in. wide (20.32 cm high 20.32 cm wide). Date: 4th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: French. Dimensions: L. 13 1/2 x W. 7 3/4 inches34.3 x 19.7 cm. Date: late 18th century. Museum: Metropolitan Museum of Art, New York, USA.

A vignette with leaves and triangles to the poem Curse to roundabouts and sonnets in: Zygmunt Lubicz Zaleski, on a narrow sleep and storm. Tadeusz Józef Makowski, Warsaw Paris Kraków: Centnerszwer I SKA, 1914, p. 63 arranged and decorated. Makowski, Tadeusz (1882 1932), Centnerszwer and S ka, Reiff, A. Heymann

Part of an orphrey ca. 1500 Italian, Florence or Siena. Part of an orphrey 227166

Human-shaped Shroud of Queen Merytamun ca. 1525-1504 B.C. New Kingdom. Human-shaped Shroud of Queen Merytamun. ca. 1525-1504 B.C.. Linen. New Kingdom. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Meritamun (TT 358, MMA 65), Burial of Meritamun, in basket 11, MMA excavations, 1928-29. Dynasty 18

Bark Painting of Barramundi Fish Aboriginal Australian. Bark Painting of Barramundi Fish, 20th century. Bark, ochres, 18 x 36.5 x 2 in. (45.7 x 92.7 x 5.1 cm). Arts of the Pacific Islands 20th century

Textile Fragment 4th century. Textile Fragment 443552

Fragment possibly 1818 British. Fragment 222972

Saint James Major, part of an altarpiece Carlo Crivelli (Italian, Venetian, Schools of the Venice and the Marches, 1430-1495). Saint James Major, part of an altarpiece, 1472. Tempera and tooled gold on panel, 38 1/4 x 12 5/8 in. (97.2 x 32.1 cm). Saint James Major was one of Christs apostles and became the patron saint of pilgrims, those devoted and adventurous Christians who made their way over hundreds of miles to the Holy Land or to the chief pilgrimage churches of Europe. Their connection with James arose from the belief that the apostle had traveled across the Mediterranean as far as Spain to found the famous pilgrimage church Santiago (Spanish for Saint James) de Compostela. The seashell, symbolizing that voyage, and the pilgrim staff are the saints usual attributes. Crivelli is noted for the linear intensity and sculptural hardness of his forms, seen here in the knobby toes and the spiraling curls of hair. However, in this image of the saint, who would have originally been ga

Sketch of a Breaking Wave (from Sketchbook VII). Artist: William Trost Richards (American, Philadelphia, Pennsylvania 1833-1905 Newport, Rhode Island). Dimensions: 5 x 7 1/2 in. (12.7 x 19.1 cm). Date: 1886.This sketchbook contains forty-six drawings in graphite and ink, primarily of New England landscape and marine subjects. The addition to the Museum's collection of this and one other sketchbook (1992.2.2) of Pacific Northwest landscape subjects by Richards virtually completes a representation of the range of the artist's graphic achievement. The books are remarkable for both highly finished compositions and for pages of rapid notes probably taken during strolls through the countryside. The pages testify to Richard's tireless pleasure in observing nature, to the sketchbooks utility as a rehearsal place for his hand, and to the vivid impressions he could produce with the simplest of means. Not least of all, they offer a key understanding to the artist's uncanny facility in his better

Border early 19th century French. Border. French. early 19th century. Cotton. Textiles-Printed

Interior of the Buurkerk (Buurkerkhof) in Utrecht; View of a mural in one of the southern areas, representing Saint Jacobus or a priest figure, this painting was uncovered in December 1921.

John Lane, after John Singleton Copley Unknown. John Lane, after John Singleton Copley, ca. 1801-1810. Oil on canvas, 50 x 39 13/16 in. (127 x 101.1 cm). John Lane, after John Singleton Copley Unknown. John Lane, after John Singleton Copley, ca. 1801-1810. Oil on canvas, 50 x 39 13/16 in. (127 x 101.1 cm). Unknown American Art American Art

Fragment. Dimensions: 5 in. high 5.00 in. wide (12.7 cm high 12.7 cm wide). Date: 4th century. Museum: Metropolitan Museum of Art, New York, USA.

Girls with grapes and Hunter. Boucher, François (French, 1703-1770) (author of design, 1734-46) painter Besnier, Nicolas (French, b.1686-d.1754) (workshop) weaver Charron, André-Charlemagne (French, fl.1754-1780) (workshop) weaver c. 1750 Tapestry Dimensions: H 8'9" x W 6'11.5" Tapestry Materials/Techniques: wool (warp); wool & silk (weft) Culture: French Weaving Center: Beauvais Ownership History: Count Harrach coll. Acquired by Henry E. Huntington in 1920. United States, California, San Marino, Huntington Library, Art Gallery and Botanical Gardens, accno. 20.8.4. 2 girls on bank of earth, one seated & one reclining & holding stick with grapevine twisted around it, face crouching woman with basket of grapes who extends her hand towards the pair (L); young man, seated on grassy bank, holds gun & caresses dog, 2 dead rabbits are under dog's paw, behind him groom holds 2 horses as one drinks from large fountain, 2 dogs in front of groom; beyond figures are bridge, ruined wall or structur

Fragment 17th century Italian. Fragment 214941

Textile Fragment 4th century. Textile Fragment 443322

Handkerchief. Spain. Date: 1780-1800. Dimensions: 91.4 x 101.6 cm (36 x 40 in.). Linen, plain weave; copperplate printed. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA.

Cantonnière. unknown c. 1540-1560 Tapestry Dimensions: H 12'1" x W 10' Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: Enghien Ownership History: French & Co. United States, Pennsylvania, Philadelphia, Philadelphia Museum of Art, accno. 3842.4 & 5. Inscriptions: City mark on lower guard of left border section Related Works: Panels in set: GCPA 0241440-0241441 Related Works: Iconographically similar border: Stockholm, National Museum, NM Khv. 18/1918 (with mark of Oudenaarde & weaver)

Geological relief model from Bandoeng in the 1920s.

The Golden Calf, Marc Chagall, (1887-1985 Russian)

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

Bliżej Kultury unknown

76 Impressions from cancelled plates by Whistler - Buildings.. Artist: James McNeill Whistler, American, 1834-1903

Fragment of a Sleeve 3rd-4th century. Fragment of a Sleeve 443886

The Israel Stela or Victory stela of Merneptah. 1213 -1203 BC. New Kingdom. It commemorates the victory of the Pharaoh over the Libian invaders. Egyptian art. New Kingdom. Relief on rock. EGYPT. CAIRO. Cairo. Egyptian Museum. Proc: EGYPT. QUENA. Valley of the Kings. Mortuary Temple of Merenptah (Merneptah).

Lake Maggiore, May 12, 1869 (verso, from Sketchbook). Artist: Jervis McEntee (American, Rondout, New York 1828-1891 Rondout, New York). Dimensions: 4 1/2 x 9 in. (11.4 x 22.9 cm). Date: 1869. Museum: Metropolitan Museum of Art, New York, USA.

Piece. Culture: French. Dimensions: L. 11 3/4 x W. 9 inches (29.8 x 22.9 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Large-leaf verdure (feuille de choux) with exotic animals and patched section. unknown c. 1550 Tapestry Materials/Techniques: unknown Culture: Flemish Ownership History: Austria, Vienna, Vienna, Wiener Gobelinssammlung. Leopard, lion, ram & birds inhabit greenery composed of wispy flowering plants amidst large, scrolling acanthus-like leaves (BRD) garland with foliage, fruit & flowers, impinging on central field Large section of lower 1/3 of panel, left of center, has been patched with piece from similar tapestry.

Sweden, Blekinge, Blekinge, Karlskrona, Karlskrona, external marina (depicted, town).Sweden, Blekinge, Blekinge, Karlskrona, Karlskrona, External War Gogs (depicted, City)

Fukusa (Gift Wrapper) late 18th or early 19th century Japan. Fukusa (Gift Wrapper). Japan. late 18th or early 19th century. Silk, metallic thread. Edo period (1615-1868). Textiles-Woven

Panel Russian 19th century

Piece. Culture: Italian. Dimensions: L. 7 x W. 5 inches (17.8 x 12.7 cm). Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Woman in Manteau Robert Henri (American, 1865-1929). Woman in Manteau, 1898. Oil on canvas, 58 1/16 x 38 11/16 in. (147.5 x 98.3 cm). Painted in Paris at a time when Robert Henri was determined to make his professional mark as a young artist, this workin a dark, smoky palette deliberately recalling European Old Mastersfeatures his favorite model, Berthe Terrier. Although he intentionally allied his art with revered tradition, Henri also added a contemporary mood by portraying Terrier with a bold, almost defiant expression. X-radiographs reveal that Henri repainted this work extensively as he struggled to capture his model’s anatomy. At an earlier stage (see illustration), the placement of the shawl exposed much more of her shoulders and bust. Such focus on the nude reflects the artist’s early academic training at the Pennsylvania Academy of the Fine Arts, where Thomas Eakins’s Realist tradition was still strongly felt. American Art 1898

Sampler. Culture: Dutch. Dimensions: H. 17 3/4 x W. 19 3/8 inches (45.1 x 49.2 cm). Date: 1823-25. Museum: Metropolitan Museum of Art, New York, USA.

Large Head (Grosser Kopf) Christian Rohlfs (German, 1849-1939). Large Head (Grosser Kopf), 1922. Color woodcut in burgundy on wove paper, Image: 17 13/16 x 10 in. (45.2 x 25.4 cm). European Art 1922

Sarcophagus of Ese-irdis. Dynasty: Dynasty 30. Date: 522-343 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

'Bird's-Eye View of a River with a Rope Ferry', c1480 (1945). Artist: Leonardo da Vinci.

Corinthian Column Krater Fragment. Unknown

Attic Red-Figure Stamnoid Fragment. Attributed to the Brygos Painter (Greek (Attic), active about 490 - 470 B.C.)

Panel. Culture: German. Dimensions: H. 36 x W. 43 inches91.4 x 109.2 cm. Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Ceiling of Astley's Theatre, 1858. Refurbished building in London. 'This theatre, on its reopening, has presented new attractions which deserve express notice. Many alterations and improvements have been made in the interior, and the accommodation of the boxes is much increased...There is also a new ceiling, with a striking series of paintings, representing the gods and goddesses of heathen mythology, which are exceedingly well done. These, we understand, are the production of Mr. I. S. Pearse'. From "Illustrated London News", 1858.

Battle Scene, Scene from a Ramayana Series Indian. Battle Scene, Scene from a Ramayana Series, ca. 1735. Ink on paper, sheet: 7 3/4 x 11 1/4 in. (19.7 x 28.6 cm). Asian Art ca. 1735

Millefleurs ground with unicorn, leopard/cat , ram, stag, lamb, dogs, foxes, birds and rabbits. unknown c. 1500-1525 Tapestry Dimensions: H 9'8" x W 8' Tapestry Materials/Techniques: unknown Culture: Southern Netherlands Weaving Center: unknown Ownership History: French & Co.

The Waste of Waters is Their Field Albert Pinkham Ryder (American, 1847-1917). The Waste of Waters is Their Field, early 1880s. Oil on panel, 11 5/16 x 12 in. (28.8 x 30.5 cm). Albert Pinkham Ryder based this seascape on a poem by the Englishman Robert Southey that recounted the ocean voyage of a medieval king to the New World: Day after day, day after day the same,— / A weary waste of waters!” Ryder was regarded as a visionary and experimental painter among artists. He often addressed the theme of human destiny, as played out in literature or the Bible. Influenced by modern European art, he rendered his subjects with highly simplified or expressively exaggerated forms and densely textured surfaces that challenged the visual expectations of his American audience. American Art early 1880s

Attic Black-Figure Amphora Fragment. Unknown

Attic Black-Figure Amphora Fragment. Unknown

Abklatch of the chalk drawing on leaf 14 verso. Leaf 15 Recto from a sketchbook with 24 sheets.

Roundel 6th-7th century. Roundel 445854

Roundel with Putto and Horse probably 7th century Elements of the Late Antique repertoire--the divine horse and the putto extending a victory wreath--continued to serve as potent decorative emblems well into the eighth and ninth centuries, even when their original context had been lost and their forms had blurred.. Roundel with Putto and Horse 444306

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

Fragment 18th century China. Fragment. China. 18th century. Silk. Qing dynasty (1644-1911). Textiles-Woven

Sampler 19th century German. Sampler. German. 19th century. Beads on linen. Textiles-Embroidered

Fragment. Dimensions: 7 11/16 in. high 5 1/4 in. wide (19.5 cm high 13.4 cm wide). Date: 5th-6th century. Museum: Metropolitan Museum of Art, New York, USA.

Millefleurs with various birds. unknown c. 1500-1530 Tapestry Dimensions: H 3'6" x W 11'10" Tapestry Materials/Techniques: unknown Culture: Southern Netherlands Weaving Center: unknown Related Works: Compositionally similar tapestries, Minneapolis, Institute of Arts, REf. 34.4, "Allegorical 'Millefleurs' tapestry with Animals"

Ariadne kills one of two Scythians who fought over her. Vignon, Claude (French, 1593-1670) (designed after) painter Maecht, Philipp de (Flemish, act. 1605-1652, d. bef.1655) (workshop) weaver c. 1640-1650 Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Paris Ownership History: Raoul Heilbronner (Paris) 1901. Sold from Stamford White coll., 1907, lot 255. Private coll., possibly in France, 1970. Inscriptions: Weaver mark on right guard, bottom In landscape setting, Ariadne points bow & arrow towards 2 Scythians wrestling on ground (L foreground), as soldier followed by 2 others enters in R middle ground (BRD) floral garland; (UPR & LWR BRD) centered by landscape cartouches; (L & R BRD) cartouches with figural scenes at mid-points; corners: pair of putti within acanthus spirals reaching for pair of interlace snakes above, with mask at base Göbel, Wandteppiche I:1 (1923), 99-100

Kosode. Culture: Japan. Dimensions: Overall: 68 x 48 1/2 in. (172.7 x 123.2 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Textile Fragment 4th-5th century. Textile Fragment 443208

Portrait of a Lady Corneille de Lyon (Dutch,1500/10-1575, active in France). Portrait of a Lady, 1553-1557. Tempera on panel, 7 1/2 x 5 3/4 in. (19.1 x 14.6 cm). European Art 1553-1557

Squirrels on Bamboo and Rock. Artist: Kano Osanobu (1796-1846); In the Style of Yoden (Chinese, active early Yuan period (1279-1368)). Culture: Japan. Dimensions: 37 1/2 x 17 1/4 in. (95.3 x 43.8 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

The Monomachus Crown (Hungarian: Monomakhosz-korona) is a piece of engraved Byzantine gold work, decorated with cloisonné enamel, in the Hungarian National Museum in Budapest, Hungary. It consists of seven gold plates depicting Emperor Constantine IX Monomachus, his wife Zoe, her sister Theodora, two dancers and two allegorical figures. The piece has puzzling aspects that have long made it the subject of scholarly debate; it was probably made in Constantinople in 1042.

July. Giulio Romano (Italian, 1492/99-1546) (designed after) painter Verdier, François (French, 1651-1730) (cartoon creator) painter Lacroix, Jean de II (French, ca.1640-d.1714) (workshop) weaver 1686-1688 Tapestry Dimensions: H 3.75 x W 4.40 m Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Paris Ownership History: Garde-meuble (1689). Château de Versailles (1789). France, Pyrénées-Atlantiques, Pau, Musée national du château de Pau. Jupiter (Zeus) stands under arcade & holds lightning bolt & sign of Leo; arcade decorated with garlands & grotesques; 2 small panels depicting haymaking scenes (L & R (BRD) narrow band 1st weaving. Borders removed ca. 1852-1871. Fénaille, Gobelins 2 (1903-1923), 323-36 Göbel, Wandteppiche II:1 (1928), 142-43 Related Works: Panels in set: GCPA 0139289, 0139293-0139295; compositionally similar sets: GCPA 0243786-0243788 (Louvre set), GCPA 0243790-0243799 (Princess of Conti set)

Fragment Made 1722-1743 France. Silk, warp-float faced 7 1 satin weave with supplementary brocading wefts and supplementary binding warps tying some self-patterning ground wefts in plain interlacing .

Fragment 16th century Italian. Fragment 214953

Stencil Japan. Stencil 70016

Shepherd Resting in a Clearing. Henri Joseph Harpignies; French, 1819-1916. Date: 1849. Dimensions: 259 × 205 mm (plate); 305 × 220 mm (sheet). Etching printed in relief on ivory wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

A Mexican pillar in Honduras, vintage engraving. A Mexican pillar in Honduras, vintage engraved illustration. Magasin Pittoresque 1843. Copyright: xZoonar.com/PatrickxGuenettex 10660246

Applique late 19th-early 20th century China. Applique. China. late 19th-early 20th century. Silk, metallic thread. Qing dynasty (1644-1911). Textiles-Embroidered

Last Judgment Circle of Pieter Jansz. Pourbus (Netherlandish, 1523/4-1584). Last Judgment, after 1551. Oil on panel, 38 1/4 x 75 3/4in. (97.2 x 192.4cm). European Art after 1551

Piece. Culture: Italian, Venice. Dimensions: L. 69 3/4 x W. 42 7/8 inches (177.2 x 108.9 cm). Date: early 18th century.Panels such as this--with its extraordinary patterns in long repeats--were called "bizarre" by the Danish scholar Slomann, who believed they were made in India. Most scholars consider them an exotic phase in the history of European silk weaving. Museum: Metropolitan Museum of Art, New York, USA.

Plate, from Moonstrip Empire News. Sir Eduardo Paolozzi (British, 1924-2005); printed by Kelpra Studio, London. Date: 1967. Dimensions: 380 × 254 mm. Screenprint on acetate. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Festival for the Family of the Elector of Saxony, Dresden, February 28, 1678: Hercules Fireworks. Museum: Metropolitan Museum of Art, New York, USA.

Esther and Ahasuerus. unknown c. 1475 Tapestry Materials/Techniques: metallic thread Culture: Southern Netherlands Weaving Center: unknown Scene divided by columns, creating several scenes; upper L, Mordecai kneels before King Ahasuerus Mordecai before Ahasuerus (Esther 8:1-10:3); upper L of center, triumph of Jews: Esther writes letters in King Ahasuerus' name Esther 8:1-10:3); lower L & center, Mordecai reveals treason to Esther, she informs King Ahasuerus & he condemns traitors (Esther 2:21-23) (BRD) garland of flowers with birds Photographs are details of tapestry; for full view of panel, see Hunter. Right-side of tapestry has scenes with variations from tapestries in the "Glorification of Christ" series, including the left-side of the "Mazarin" tapestry in the National Gallery of Art, Washington, D.C., & others in Brussels & Zaragoza. Göbel had earlier attributed the artist Jan van Roome to this series in its likeness to the "Trojan War" tapestries; but Adelson does not concur. Hu

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

Cherubino Alberti after Polidoro da Caravaggio (Italian, 1553 - 1615), The Rape of the Sabine Women and The Triumph of Two Emperors, c. 1600, five engravings printed on separate pieces of satin backed with heavy paper

03/08/1909. Monument to Pereda. -sketch of the very notable sculptor Mr. Coullaut Valera, winner of the competition held in Santander.

Vesperal No. 3. Jean-Paul Riopelle; Canadian, 1923-2002. Date: 1957. Dimensions: 113.7 x 161.5 cm (44 3/4 x 63 5/8 in.). Oil on canvas. Origin: Paris. Museum: The Chicago Art Institute, Chicago, USA.

Sampler. Culture: Dutch. Dimensions: H. 12 3/4 x W. 16 1/4 inches (32.4 x 41.3 cm). Date: 1819. Museum: Metropolitan Museum of Art, New York, USA.

heraldry, coat of arms, Germany, city arms, Pforzheim, wood engraving, 1893,

Work of art in the Teatre-Museu Dali, Dali Museum, Figueres, Girona, Catalonia, Girona, Spain, Europe

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