Search

Collection Tour

MFA Images: Romance

  • Explore this subject through images from across the MFA’s collection.

    Start Tour
  • Celebrating Couple: General Jackson and his Lady

    about 1831
    Rev. Henry Young (American, active 1823–1831)

    Description

    Inscription

    UC in ink: Samuel Jackson and his/ Lady

    Provenance

    da L.K. Hostetter, Unger, and Nadelman; Elie Nadelman, Riverdale on Hudson; Nov. 2, 1948 to Maxim Karolik (1893-1963, Newport) in care of Museum of Fine Arts; by whom given to MFA ,October 11, 1956

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik cat. 1341, fig. 360 (Folk artists)

    Dimensions

    Sheet: 25.9 x 19.2 cm (10 3/16 x 7 9/16 in.)

    Accession Number

    56.751

    Medium or Technique

    Pen and brown ink and watercolor on brown paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • The Early Italian Poets (study for titlepage)

    1861
    Artist Dante Gabriel Rossetti (English, 1828–1882)

    Description

    Inscription

    above: title/ from Ciulo to Dante/ translated by D G Rossetti/ in the .... (?) of the originals; below: London Smith and Eldor 1861 etc

    Provenance

    William H. Schab, New York; from whom purchased by MFA February 13, 1958

    Credit Line

    Print Department Special Fund

    Details

    Dimensions

    Image: 14.7 x 8.9 cm (5 13/16 x 3 1/2 in.) Sheet: 17.5 x 10.9 cm (6 7/8 x 4 5/16 in.)

    Accession Number

    58.50

    Medium or Technique

    Pen and brown ink on cream laid paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Before the Battle

    1858, retouched in 1862
    Dante Gabriel Rossetti (English, 1828–1882)

    Description

    Inscription

    Signed with monogram lower right: DGR 1858

    Provenance

    Charles Eliot Norton (1827-1908, Cambridge); to his daughter Miss Sara Norton (1864-1922, Cambridge); from whom purchased by MFA, 1912.

    Credit Line

    Picture Fund

    Details

    Catalogue Raisonné

    Surtees 106

    Dimensions

    Sheet: 42.2 x 27.3 cm (16 5/8 x 10 3/4 in.) Framed: 65.1 x 50.8 cm (25 5/8 x 20 in.)

    Accession Number

    12.1164

    Medium or Technique

    Transparent and opaque watercolor on paper, mounted on canvas

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Corfu: A Rainy Day

    1909
    John Singer Sargent (American, 1856–1925)

    Description

    Markings

    PDP Watermark Type: .....UNBLEACHED ARNOLD

    Provenance

    Purchased from the artist through M. Knoedler, New York, April 4, 1912

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    Sheet: 36.7 x 54 cm (14 7/16 x 21 1/4 in.)

    Accession Number

    12.209

    Medium or Technique

    Translucent watercolor, with touches of opaque watercolor, over graphite on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Cupid and Psyche

    about 1870
    Adolphe Braun (French, 1812–1877)

    Description

    Inscription

    Inscribed on mount below image, lower right, in black ink: Canova. Inscribed on mount, lower right corner, in black ink: Louvre 73.

    Provenance

    Victorian Photography, Essex, England; purchased February 1992.

    Credit Line

    Francis Welch Fund

    Details

    Dimensions

    Image: 47.0 x 37.5 cm (18 1/2 x 14 3/4 in.) Mount: 62.9 x 47.6 cm (24 3/4 x 18 3/4 in.)

    Accession Number

    1992.27

    Medium or Technique

    Photograph, carbon print

    Not On View

    Collections

    Europe, Photography

    Classifications

    Photographs

    More Info
  • The Lovers

    German
    20th century
    1913
    Käthe Kollwitz (German, 1867–1945)

    Object Place: Germany

    Description

    Plaster model. Seated figure holds youth in lap.

    Signed

    On rough block signed at back Kollwitz

    Provenance

    1954, Galerie Gerd Rosen, Berlin; by 1958, sold by Rosen to Hyman Swetzoff, Swetzoff Gallery, Boston [see note 1]. 1958, gift of Hyman Swetzoff to the MFA. (Accession Date: April 10, 1958) NOTES: [1] Letter from Gerd Rosen to Hans Kollwitz (son of Kathe Kollwitz), Nov. 15, 1954, and letter of Hans Kollwitz to MFA.

    Credit Line

    Gift of Mr. and Mrs. Hyman W. Swetzoff in memory of Mr. and Mrs. Solomon Swetzoff

    Copyright

    © 2011 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

    Details

    Dimensions

    74.29 x 45.72 x 48.26 cm (29 1/4 x 18 x 19 in.)

    Accession Number

    58.390

    Medium or Technique

    Plaster

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

    Collections

    Europe

    Classifications

    Sculpture

    More Info
  • The Parting

    about 1840
    Artist Unidentified artist, American, 19th century

    Description

    Inscription

    On verso a circular blind stamp: Duanes francaises (small caps)

    Provenance

    Maxim Karolik, Newport; Gift to MFA September 18, 1958

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik cat. 1241, fig. 315 (Folk artists)

    Dimensions

    Sheet: 30.3 x 24.1 cm (11 15/16 x 9 1/2 in.)

    Accession Number

    58.930

    Medium or Technique

    Watercolor and stencil with graphite on paper

    Not On View

    Collections

    Prints and Drawings

    Classifications

    Drawings

    More Info
  • The Early Italian Poets (study for titlepage)

    1861
    Artist Dante Gabriel Rossetti (English, 1828–1882)

    Description

    Provenance

    William H. Schab, New York; from whom purchased by MFA February 13, 1958

    Credit Line

    Print Department Special Fund

    Details

    Dimensions

    Image: 15.3 x 9.7 cm (6 x 3 13/16 in.) Sheet: 16.5 x 13.6 cm (6 1/2 x 5 3/8 in.)

    Accession Number

    58.51

    Medium or Technique

    Pen and black ink over graphite on heavy cream wove paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Dance at Bougival

    1883
    Pierre-Auguste Renoir (French, 1841–1919)

    Description

    The open-air cafés of suburban Bougival, on the Seine outside Paris, were popular recreation spots for city dwellers, including the Impressionist painters. Renoir, who was primarily a figure painter, uses intense color and lush brushwork to heighten the sense of pleasure conveyed by the whirling couple who dominate the composition. The woman’s face, framed by her red bonnet, is the focus of attention, both ours and her companion’s.

    Inscription

    Lower right: Renoir. 83.

    Provenance

    April 16, 1883, deposited by the artist with Durand-Ruel, Paris; November 12, 1884, returned to the artist; February 19, 1886, deposited by the artist with Durand-Ruel and shipped to New York; November 22, 1886, sold by the artist to Durand-Ruel and sold the same day to Mme. Hiltbrunner; June 15, 1889, deposited by Mme. Hiltbrunner with Durand-Ruel; August 25, 1891, sold by Mme. Hiltbrunner to Durand-Ruel and, in September, 1891, transferred back to Paris [see note 1]; January 2, 1894, sold by Durand-Ruel, Paris to Félix-François Depeaux (b. 1853 - d. 1920), Rouen; May 31 - June 1, 1906, Depeaux sale, Galerie Georges Petit, Paris, lot 38, to Depeaux's brother-in-law, Edmond Décap, Paris; by descent to Maurice Barret-Décap, Biarritz, France; 1937, sold by Barret-Décap, possibly through Anthony H. Manley, Paris [see note 2] to the dealers Paul Brame (b. 1898 - d. 1971) and César de Hauke (b. 1900), Paris, for Jacques Seligmann et Fils, Paris [see note 3]; March 19, 1937, transferred from Seligmann, Paris, to Jacques Seligmann and Co., New York; April, 1937, sold by Seligmann, New York, to the MFA for $150,000. (Accession Date: May 5, 1937) NOTES: [1] The early provenance and information about Durand-Ruel's transactions is taken from Colin B. Bailey, Renoir, Impressionism, and Full-Length Painting (exh. cat. Frick Collection, New York, 2012), p. 212. [2] Maurice Barret-Décap owned the painting until at least February 9, 1937, as his correspondence with Seligmann attests. The provenance provided by Seligmann at the time of the painting's acquisition lists the name of Anthony Manley after that of Barret-Décap. The gallery's shipping papers from March 19, 1937, note that it was purchased from Manley on February 13 (year illegible; presumably 1937); Manley also wrote to Seligmann on April 3, 1937, regarding the payment of interest on the painting. It is possible that Barret-Décap sold the work to Seligmann through Manley, that the two men owned it jointly, or that Manley owned the work for a very short period of time, around February 9-13, 1937. [3] De Hauke was a sales representative for Jacques Seligmann and Co. While he purchased works of art that were sold by the gallery, the ownership of the objects was often officially shared by several art dealers, and the transactions became quite complicated. De Hauke and Brame worked together on several occasions.

    Credit Line

    Picture Fund

    Details

    Dimensions

    181.9 x 98.1 cm (71 5/8 x 38 5/8 in.)

    Accession Number

    37.375

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at The National Gallery, London, March 4, 2015 – May 31, 2015

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Krishna and his favorite shelter from a storm

    Varsha Vihara

    Indian, Pahari
    about 1825
    Attributed to The Family of Nainsukh

    Object Place: Kangra style, Punjab Hills, Northern India

    Description

    Inscription

    Reverse: at top, in Devanagari, cut off at end: "ke ki ke pukar dharavat ki dhukar mahan jhili jjhukardagaparrtan meri he..." Translated into English in old hand below: "Crying of peahens, crying of yokels, shrill crickets cry; hath felt not be me, O..."

    Provenance

    Given to the MFA by Denman Waldo Ross in 1917. Purchased from Ananda Coomaraswamy in 1917. Purchased in India prior to 1916.

    Credit Line

    Ross-Coomaraswamy Collection

    Details

    Dimensions

    Overall: 29.7 x 21.1cm (11 11/16 x 8 5/16in.) Other (Image only): 16.9 x 24.4 cm (6 5/8 x 9 5/8 in.)

    Accession Number

    17.2614

    Medium or Technique

    Opaque watercolor and gold on paper

    Not On View

    Collections

    Asia

    Classifications

    Paintings

    More Info
  • Lovers in a Landscape

    Persian
    Safavid Period
    second half of 16th century

    Object Place: Mashhad or Qazvin, Iran

    Description

    Inscription

    "Amal-e Ustad Muhammadi"

    Provenance

    By 1912, Victor Goloubew (b. 1879 - d. 1945), Paris [see note 1]; 1914, sold by Goloubew through M. Meyer-Riefstahl to the MFA for $76,999.81 (total price for 14.532-700). (Accession Date: June 4, 1914) NOTES: [1] Victor Goloubew was born in Russia but lived in Paris by the time of this acquisition. He formed this collection of Persian and Indian miniature paintings and exhibited it at the Musée des Arts Décoratifs in Paris from 1912 to 1914 (Paull, Florence Virginia. "The Goloubew Collection of Persian and Indian Paintings." Museum of Fine Arts Bulletin. Vol. XIII. No. 74. (February 1915) 1-16).

    Credit Line

    Francis Bartlett Donation of 1912 and Picture Fund

    Details

    Dimensions

    W: 9 x L: 18 cm (3 9/16 x 7 1/16 in.)

    Accession Number

    14.588

    Medium or Technique

    Opaque watercolor on paper

    Not On View

    Collections

    Asia

    Classifications

    Books and manuscripts

    More Info
  • Painter's Honeymoon

    about 1864
    Frederic, Lord Leighton (English, 1830–1896)

    Description

    Love is equated with art in this romantic image which – in its evocation of the past and its precise, controlled style – epitomizes officially sanctioned academic practice in the late nineteenth century. Leighton, who was elected president of the Royal Academy in London in 1879, spent many years studying in Germany, France, and Italy. The composition and glowing color of Painter’s Honeymoon reflect the influence of such sixteenth-century Venetian painters as Giorgione and Titian.

    Provenance

    By 1864, with Moreby [see note 1]. By 1870, John Smith, London; May 4, 1870, John Smith sale, Christie's, London, lot 70, bought in and subsequently sold to Thos. Agnew and Sons, London (stock no. 6211) [see note 2]. By 1878, J.L. Kennedy Esq., Ardwick Hall, Manchester [see note 3]; until 1981, by descent within the family; June 5, 1981, anonymous ("property of a nobleman") sale, Christie's, London, lot 48, to Richard Green, London for the MFA. (Accession Date: June 10, 1981) NOTES: [1] According to the 1981 Christie's catalogue. The painting was exhibited by the artist at the Royal Academy in 1866. [2] The painting was received by Agnew on December 31, 1870, from "Smith." [3] Lent by J.L. Kennedy to the Manchester Exhibition, May 16, 1878, no. 20.

    Credit Line

    Charles H. Bayley Picture and Painting Fund

    Details

    Dimensions

    83.8 x 76.8 cm (33 x 30 1/4 in.)

    Accession Number

    1981.258

    Medium or Technique

    Oil on canvas

    On View

    Lorna and Robert Rosenberg Gallery (Gallery 252)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Promise of Spring

    1890
    Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    Alma-Tadema’s later works are often small-scale, sentimental images of young lovers. In Promise of Spring, he created a highly romanticized and lush setting through the use of color and detail. The arched branches and intricate blooms of the tree meet the curved bodies of the lovers below. This movement frames the outward gaze of the female figure, whose pose exudes a relaxed beauty. The painting also presents such subtle, classicizing details as the marble architectural elements and the ancient dress.

    Inscription

    Center right: L Alma Tadema / Op CCC III

    Provenance

    By 1910, with Arthur Tooth and Sons (?), London, England, Paris, France, and New York, NY [see note 1]. By 1939, Frances M. Baker, Boston, MA; 1939, bequest of Frances M. Baker to the MFA. (Accession Date: November 9, 1939) NOTES: [1] see Dircks, Rudolf, "The Later Works of Sir L. Alma-Tadema," (1910), p 14, where lists "by permission of Messrs. Arthur Tooth and Sons." Tooth had another painting titled "The Voice of Spring," in stock 1910, but its dimensions were 19 1/4" x 45 3/4".

    Credit Line

    Bequest of Frances M. Baker

    Details

    Dimensions

    38.1 x 22.5 cm (15 x 8 7/8 in.)

    Accession Number

    RES.39.94

    Medium or Technique

    Oil on panel

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Boating Couple (said to be Aline Charigot and Renoir)

    about 1881
    Pierre-Auguste Renoir (French, 1841–1919)

    Description

    Inscription

    Lower right: Renoir

    Provenance

    August 25, 1891, sold by the artist to Durand-Ruel, Paris; November 27, 1924, sold by Durand-Ruel, Paris, to Alvan Tufts Fuller (d. 1958), Boston; 1959, to the Alvan T. Fuller Foundation, Inc; 1961, gift of the Fuller Foundation to the MFA. (Accession Date: May 10, 1961)

    Credit Line

    Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

    Details

    Dimensions

    Overall: 45.1 x 58.4 cm (17 3/4 x 23 in.)

    Accession Number

    61.393

    Medium or Technique

    Pastel on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Pastels

    More Info
  • Lovers under an Umbrella in the Snow

    Japanese
    Meiji era?
    original design about 1766–67 (Meiwa 3–4); later copy?
    Artist Suzuki Harunobu (Japanese, 1725–1770)

    Description

    MFA impressions: 21.4403 (Meiji reproduction?), 21.4530 (first state?)

    Signed

    Suzuki Harunobu ga 鈴木春信画

    Provenance

    Formerly in Sumitomo collection; April 1913, purchased by William S. and John T. Spaulding from Yamanaka & Co.; December 1, 1921, given by William S. and John T. Spaulding to the Museum.

    Credit Line

    William S. and John T. Spaulding Collection

    Details

    Catalogue Raisonné

    Waterhouse, The Harunobu Decade (2013), #172; Ukiyo-e shûka 4 (1979), list #530.1, and supp. 1 (1982), pl. 240

    Dimensions

    Vertical chûban; 26.1 x 19.6 cm (10 1/4 x 7 11/16 in.)

    Accession Number

    21.4403

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Love Song (Le Chant d'Amour)

    1865
    Sir Edward Coley Burne-Jones (English, 1833–1898)

    Description

    Inscription

    On back in artist's writing: painted in Water colour/ Edward Burne Jones/ 1864

    Signed

    Lower left on a tablet:E.B.J./ 1865

    Provenance

    The artist; sold to William Graham (1817-1885, Glasgow); his sale at Christie's, April 3, 1886, no. 153, to Edward Clifford (1844-1907, London); 1887, Martin Brimmer (1829-1896, Boston); by bequest to the MFA Boston. (Accession Date: November 8, 1906)

    Credit Line

    Bequest of Martin Brimmer

    Details

    Dimensions

    Sheet: 54.9 x 77.7 cm (21 5/8 x 30 9/16 in.) Framed: 86.4 x 109.5 cm (34 x 43 1/8 in.)

    Accession Number

    06.2432

    Medium or Technique

    Transparent and opaque watercolor on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • New Year's Card: Modern Couple Dancing

    Japanese
    Taisho- early Showa era
    Atsuo (Japanese, dates unknown Japanese), Publisher Tanaka & Co. (Japanese)

    Place of Creation: Japan

    Description

    Provenance

    Ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.1475

    Medium or Technique

    Color lithograph; ink and metallic pigment on coated card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • New Year's Card: Dancing Couple

    Japanese
    Taishô- early Shôwa era
    S. Riyo (Japanese, dates unknown), Publisher Tanaka & Co. (Japanese)

    Place of Creation: Japan

    Description

    Provenance

    Ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.1467

    Medium or Technique

    Color lithograph; ink and metallic pigments on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Lovers (mithuna)

    Indian
    13th century

    Object Place: Orissa, India (Eastern)

    Description

    Provenance

    1987, sold by Terence McInerney Fine Arts, Ltd., New York, to the MFA. (Accession Date: December 16, 1987)

    Credit Line

    Keith McLeod Fund

    Details

    Dimensions

    15.9 x 7.6 cm (6 1/4 x 3 in.)

    Accession Number

    1987.622

    Medium or Technique

    Ivory

    Not On View

    Collections

    Asia

    Classifications

    Sculpture

    More Info
  • The Lovers

    English
    about 1755
    Made at Longton Hall Manufactory (England)

    Object Place: England

    Description

    A pair of dancers on a puce and green pedestal. Man in black hat. White waistcoat with red designs, gold edge and buttons. Yellow coat lined white, brownsleeves, puce cuffs and breeches. Black shoes yellow bows. White bodice gok d edge at neck, green braid, puce sleeves gokd bands and yellow cuffs. Red s carf on right shoulder and left hip yellow skirt, flowered white apron held inleft hand. Puce shoes.

    Inscription

    unmarked

    Provenance

    By 1973, Mr. and Mrs. Sigmund Katz [see note 1]; 1988, gift of Mr. and Mrs. Sigmund Katz. (Accession date: November 30, 1988) NOTES: [1] From June 25, 1973, on loan to the MFA from Mr. and Mrs. Sigmund Katz.

    Credit Line

    Jessie and Sigmund Katz Collection

    Details

    Dimensions

    26.67 cm (10 1/2 in.)

    Accession Number

    1988.917

    Medium or Technique

    Soft-paste porcelain

    Not On View

    Collections

    Europe

    Classifications

    Ceramics, Porcelain

    More Info
  • Scherzando

    1903
    Ignaz Marcel Gaugengigl (American (born in Germany), 1855–1932)

    Description

    Inscription

    Lower left: SCHERZANDO:1903:I.M. GAUGENGIGL.

    Provenance

    The artist; Eben D. Jordan, Boston; Robert Jordan; to MFA, 1924, goft of Robert Jordan.

    Credit Line

    Gift of Robert Jordan from the collection of Eben D. Jordan

    Details

    Dimensions

    26.03 x 36.83 cm (10 1/4 x 14 1/2 in.)

    Accession Number

    24.219

    Medium or Technique

    Oil on panel

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Woman and Flowers

    1868
    Sir Lawrence Alma-Tadema (Dutch (active in England), 1836–1912)

    Description

    In many paintings, Alma-Tadema infused the stylistic elements of northern European scenes of daily life with the contemporary Victorian interest in classical antiquity (the artist kept 168 volumes of photographs of Greek and Roman antiquities). Here, Alma-Tadema depicted a woman in classical dress leaning on a Pompeian bronze table, the model for which is now in the archaeological museum in Naples. The artist’s detailed treatment of flowers, jewelry, and textiles helps to create a sensuous and highly exotic mood.

    Inscription

    Center left, on table edge: L. ALMA-TADEMA 1868

    Provenance

    By 1872, Thomas Wigglesworth (b. 1814 - d. 1906 or 1907), Boston [see note 1]; by descent to his niece, Henrietta Goddard Wigglesworth (Mrs. W. Scott Fitz) (b. 1847 - d. 1927), Boston; by descent to her son, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1941, gift of Edward Jackson Holmes to the MFA. (Accession Date: March 13, 1941) NOTES: [1] He first lent the painting to the Boston Athenaeum in 1872 ("The Roman Lady," cat. no. 158).

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    49.8 x 37.2 cm (19 5/8 x 14 5/8 in.)

    Accession Number

    41.117

    Medium or Technique

    Oil on panel

    On View

    Musical Instruments Alcove (Gallery 103C)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • King Menkaura (Mycerinus) and queen

    Egyptian
    Old Kingdom, Dynasty 4, reign of Menkaura
    2490–2472 B.C.

    Findspot: Giza, Egypt

    Description

    At twilight on January 10, 1910, a young boy beckoned George Reisner to the Menkaura Valley Temple. There, emerging from a robbers’ pit into which they had been discarded were the tops of two heads, perfectly preserved and nearly life-size. This was the modern world’s first glimpse of one of humankind’s artistic masterworks, the statue of Menkaura and queen.

    The two figures stand side-by-side, gazing into eternity. He represents the epitome of kingship and the ideal human male form. She is the ideal female. He wears the nemes on his head, a long artificial beard, and a wraparound kilt with central tab, all of which identify him as king. In his hand he clasps what may be abbreviated forms of the symbols of his office. His high cheekbones, bulbous nose, slight furrows running diagonally from his nose to the corners of his mouth, and lower lip thrust out in a slight pout, may be seen on her as well, although her face has a feminine fleshiness, which his lacks. Traces of red paint remain on his face and black paint on her wig.

    His broad shoulders, taut torso, and muscular arms and legs, all modeled with subtlety and restraint, convey a latent strength. In contrast, her narrow shoulders and slim body, whose contours are apparent under her tight-fitting sheath dress, represent the Egyptian ideal of femininity. As is standard for sculptures of Egyptian men, his left foot is advanced, although all his weight remains on the right foot. Typically, Egyptian females are shown with both feet together, but here, the left foot is shown slightly forward. Although they stand together sharing a common base and back slab, and she embraces him, they remain aloof and share no emotion, either with the viewer or each other.

    Who is represented here? The base of the statue which is usually inscribed with the names and titles of the subject represented, was left unfinished and never received the final polish of most of the rest of the statue. Because it was found in Menkaura’s Valley Temple and because it resembles other statues from the same findspot bearing his name, there is no doubt that the male figure is King Menkaura. Reisner suggested that the woman was Queen Kamerernebty II, the only of Menkaura’s queens known by name. She, however, had only a mastaba tomb, while two unidentified queens of Menkaura had small pyramids. Others have suggested that she represents the goddess Hathor, although she exhibits no divine attributes. Because later kings are often shown with their mothers, still other scholars have suggested that the woman by Menkaura’s side may be his mother. However, in private sculptures when a man and woman are shown together and their relationship is indicated, they are most often husband and wife. Because private sculpture is modeled after royal examples, this suggests that she is indeed one of Menkaura’s queens, but ultimately, the name of the woman represented in this splendid sculpture may never be known.

    Provenance

    From Giza, Menkaura Valley Temple. 1909: excavated by the Harvard University-Museum of Fine Arts Expedition; 1911: assigned to the MFA by the Egyptian government. (Accession Date: March 2, 1911)

    Credit Line

    Harvard University—Boston Museum of Fine Arts Expedition

    Details

    Dimensions

    Overall: 142.2 x 57.1 x 55.2 cm, 676.8 kg (56 x 22 1/2 x 21 3/4 in., 1492.1 lb.) Block (Wooden skirts and two top): 53.3 x 180 x 179.7 cm (21 x 70 7/8 x 70 3/4 in.)

    Accession Number

    11.1738

    Medium or Technique

    Greywacke

    On View

    George D. and Margo Behrakis Gallery (Gallery 207)

    Collections

    The Ancient World

    Classifications

    Sculpture

    More Info
    Multimedia
    • audio

      ENG_401.mp3

  • Couple with a Standing Screen

    Japanese
    Edo period
    about 1797 (Kansei 9)
    Artist Kitagawa Utamaro I (Japanese, (?)–1806), Publisher Moriya Jihei (Kinshindô) (Japanese)

    Description

    MFA impressions: 18.308, 21.6610

    Signed

    Utamaro hitsu 歌麿筆

    Markings

    No censor's seal

    Provenance

    1918, gift of Captain John C. Phillips to the MFA. (Accession Date: June 16, 1918)

    Credit Line

    Gift of Captain John C. Phillips

    Details

    Catalogue Raisonné

    Asano and Clark 1995, #267 (this impression); Ukiyo-e shûka 3 (1978), list #460.1, and pl. 148 (this impression); Shibui, Ukiyo-e zuten Utamaro (1964), 97.2.1; Ukiyo-e taisei 7 (1931), #107

    Dimensions

    Vertical ôban; 37.2 x 26 cm (14 5/8 x 10 1/4 in.)

    Accession Number

    18.308

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Mars and Venus

    about 1630
    Nicolas Poussin (French (active in Rome), 1594–1665)

    Description

    Poussin was the foremost French painter of the seventeenth century, although he spent almost his entire career in Rome. His restrained and idealizing style, inspired by the art of classical antiquity and the Renaissance, influenced the course of French painting for three hundred years. This allegory of the triumph of love over war shows Mars, god of war, enraptured by Venus, goddess of love, while her attendant Cupids make playthings of his weapons and armor. In its harmonious landscape, warm tonalities, and sensuous mood, this early work demonstrates Poussin’s deep admiration of painters of the Venetian Renaissance.

    Provenance

    1689, Carlo Antonio dal Pozzo (b. 1606 - d. 1689), Rome [see note 1]; by descent to his son, Gabriele dal Pozzo (d. 1695), Rome [see note 2]; by descent to his widow, Anna Teresa Benzoni, Marchesa Lancellotti de'Ginnetti, Rome [see note 3]; 1730, sold in Florence, either to Henry Furnese (d. 1756), Gunnersbury Park, England or to his cousin, Robert Furnese (b. before 1697 - d. 1733), 2d Bt., from whom it passed to Henry Furnese (d. 1756), Gunnersbury Park; February 4, 1758, posthumous Henry Furnese sale, Prestage, London, lot 55, to Simon Harcourt, 1st Earl Harcourt (b. 1714 - d. 1777), Nuneham, England [see note 4]; until 1940, by descent within the family; 1940, sold by Lord Harcourt, through Roland and Delbanco, London, to the MFA for $25,000. (Accession Date: April 11, 1940) NOTES: [1] This has been identified with the Mars and Venus in Carlo Antonio dal Pozzo's posthumous inventory of 1689. See Francis Haskell and Sheila Rinehart, "The Dal Pozzo Collection, Some New Evidence, Part I" Burlington Magazine 102 (July, 1960): 318-326, esp. Appendix 2, p. 324. How he acquired it is not known. Both he and his brother, Cassiano del Pozzo, were friends and patrons of Poussin, and both possessed art collections. Cassiano left his art collection to his brother upon his death in 1657, but its contents were not recorded, so it is not known if the Mars and Venus had been included. For further on Carlo Antonio, see Donatella L. Sparti, "Carlo Antonio dal Pozzo (1606-1689): An Unknown Collector," Journal of the History of Collections 2, no. 1 (1990): 7-20. [2] The painting appears in an inventory of his collection, made shortly after his death in 1695 (no. 100, "Altro quadro di 7, e 9 con La favola di monsù Pusino"); see Arnauld Brejon de Lavergnée, "Tableaux de Poussin et d'autres artistes français dans la collection Dal Pozzo: deux inventaires inédits," Revue de l'Art 19 (1973): 79-96 and Timothy J. Standring, "Some Pictures in the Dal Pozzo Collection: Three New Inventories," Burlington Magazine 130 (August, 1988): 611-613. [3] In 1729 an inventory of the collection was drawn up, when the Marchesa retained custody of the picture collection for her son and Gabriele's heir, Cosimo Antonio Dal Pozzo (d. 1740); Mars and Venus appears as "Bacchanale," see Standring (as above, n. 2). A legal declaration of 1731 records that in 1730 four pictures by Poussin, held by the Marchesa, were sold to Englishmen in Florence. As Standring has shown, the Mars and Venus was among them, and the purchaser was probably either Robert Furnese or his cousin, the collector Henry Furnese. [4] The name of the purchaser is recorded in a copy of the auction catalogue. Also see Edward William Harcourt, ed., "The Harcourt Papers" (Oxford, 1880-1905), vol. 3, p. 233.

    Credit Line

    Augustus Hemenway Fund and Arthur William Wheelwright Fund

    Details

    Dimensions

    154.9 x 213.7 cm (61 x 84 1/8 in.)

    Accession Number

    40.89

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Haymaker and Sleeping Girl

    Mushroom Girl

    late 1780s
    Thomas Gainsborough (English, 1727–1788)

    Description

    The existence of a preparatory drawing indicates that Gainsborough took particular pains with this composition. Although apparently about erotic desire, the painting also offers a deeper meditation on longing and regret. The young woman’s pale skin and refined clothing suggest that she is not a country girl, whereas the hay in the youth’s hat and rake reveal that he has paused in his labors. The young man is separated from the object of his desire by social class as well as by the fence; the terrier will soon bark and shatter the young man’s idyllic reverie. Gainsborough Dupont, the artist’s nephew and apprentice, chose this painting when offered any work in his uncle’s studio.

    Provenance

    1788, gift of the artist to his nephew, Gainsborough Dupont (b. 1754 - d. 1797); April 1, 1797, Dupont sale, Christie's, London, lot 103, bought in by Crofts [see note 1]; by descent within the family to his nephew, Richard Gainsborough Dupont; June 8, 1872, Dupont sale, Christie's, London, lot 67, to White. By 1891, William Houldsworth, Halifax, Yorkshire; May 23, 1891, Houldsworth sale, Christie's, London, lot 60, to Agnew's, London (stock no. 5987); between 1903 - 1905, sold by Agnew's to Lord James Joicey, 1st Baron Joicey, Chester-Le-Street, Durham [see note 2]; about 1907, sold by Joicey to E.M. Hodgkins, Paris; from Hodgkins to Samuel G. Archibald, Paris and Montreal; March 30, 1951, posthumous Archibald sale, Parke-Bernet, New York, lot 249, to Cecil G. Doward, New York for $1800 [see note 3]. By 1953, Vose Galleries, Boston; 1953, sold by Vose Galleries to the MFA for $15,000. (Accession Date: December 10, 1953) NOTES: [1] See The Fifth Volume of the Walpole Society, 1915-16 and 1916-1917, Ed. A.J. Finberg, pg. 96, no. 103 and pg. 98, footnote 1. [2] See Century of Loan Exhibitions, Agnew's, 1903, no. 21. According to Vose, the work was possibly exhibited by Joicey in London/Glasgow in 1905. [3] According to sale catalogue annotation, the painting probably went directly from Doward to Vose.

    Credit Line

    M. Theresa B. Hopkins Fund and Seth K. Sweetser Fund

    Details

    Dimensions

    Overall: 227.3 x 149.9 cm (89 1/2 x 59 in.)

    Accession Number

    53.2553

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Young Woman Resting in a Music Room

    Alfred Stevens (Belgian (worked in France), 1823–1906)

    Description

    Inscription

    Lower right: AStevens (A and S in monogram)

    Provenance

    By 1920s, Lucerne Fine Art Co., Ltd., Lucerne; 1920s, sold by Lucerne Fine Art Co. to Rowland Burdon-Muller, Boston, Cambridge, Thomasville, GA, and Lucerne; 1970, sold by Burdon-Muller to the MFA. (Accession Date: March 11, 1970)

    Credit Line

    Abbott Lawrence Fund

    Details

    Dimensions

    40 x 61.2 cm (15 3/4 x 24 1/8 in.)

    Accession Number

    1970.76

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Flora's Feast: A masque of flowers

    published 1889
    Walter Crane (English, 1845–1915), Publisher Cassell & Co.

    Place of Publication: London

    Description

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    Height: 29.5 cm (11 5/8 in.)

    Accession Number

    1973.77

    Medium or Technique

    Illustrated book

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Illustrated Books

    More Info
  • The Gerson Sisters

    1906
    Gertrude Käsebier (American, 1852–1934)

    Description

    Provenance

    Mina Turner, New York; gift June 1973.

    Credit Line

    Gift of Mina Turner

    Details

    Dimensions

    Image/Sheet: 30.5 x 24.8 cm (12 x 9 3/4 in.) Mount: 35.9 x 28.2 cm (14 1/8 x 11 1/8 in.)

    Accession Number

    1973.455

    Medium or Technique

    Photograph, platinum print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Girl in Satin Dress with Roses

    Artist Gertrude Käsebier (American, 1852–1934)

    Description

    Provenance

    Mina Turner, New York; gift June 1973.

    Credit Line

    Gift of Mina Turner

    Details

    Dimensions

    Image/Sheet/Mount: 25.0 x 19.7 cm (9 13/16 x 7 3/4 in.)

    Accession Number

    1973.473

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Le Destin

    1896
    Henry Siddons Mowbray (American, 1858–1928 American)

    Description

    Although he would claim that during his first trip to Italy, “a fondness for the Italian Renaissance came over me,” Mowbray’s easel paintings reflect an orientation toward Italian art that is much tempered by French academic painting and British Pre-Raphaelitism. The decorative landscape and opalescent palette of “Le Destin” owe a debt to Puvis de Chavannes; the auburn-haired women with their aristocratic profiles and sumptuously patterned robes parallel the interpretations of late medieval and Renaissance culture painted by Rossetti and Burne-Jones (see Rossetti, “Bocca Baciata,” 1980.261). Also echoing the interests of the Pre-Raphaelite painters are a preference for antiquarian subjects and a taste for decorative details evoking the Renaissance (for example the conspicuously, if illogically, placed Corinthian columns, and the tabernacle frame, whose pattern recalls Venetian facade ornamentation).
    Mowbray’s presentation of the classical subject of the Fates is quite unorthodox. The Fates are usually shown as three women, not five; typically, they are old and ugly. They are often shown spinning; they would break the thread when a life was over. Instead, Mowbray shows three young women weaving a tapestry, presumably meant to signify the tapestry of life, depicting a medieval tournament or joust. The other two women have no clear identities. The standing figure at the right may have been intended to represent Fortuna, who is associated with the Fates in some accounts of the legend. She holds the golden threads from which the Fates weave the tapestry, while at left, a figure with scissors, whose role, presumably, is to snip the threads and so cut off life, consults a crystal globe. This unconventional illustration, with its mysterious subject, its iridescent, unnatural palette, and its figures at once alluring and forbidding, parallels the fin-de-siecle tendency in England and France toward sensational or at least self-consciously strange images of women.

    This text has been adapted from C. Troyen in T. Stebbins, et al., “The Lure of Italy: American Artists and the Italian Experience, 1760-1914,” exhibition catalogue, Museum of Fine Arts, Boston, 1992.

    Inscription

    Lower right: H SIDDONS MOWBRAY

    Provenance

    The artist; J. F. Archbold; with Hirschl and Adler Galleries, New York; to MFA, 1979, purchase.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Dimensions

    75.88 x 102.87 cm (29 7/8 x 40 1/2 in.)

    Accession Number

    1979.39

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Brides (from an unidentified series) of Wedding

    Japanese
    Late Meiji era
    Artist Unknown, Japanese

    Place of Creation: Japan

    Description

    Provenance

    ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.19125

    Medium or Technique

    Color lithograph; ink and metallic pigments on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Night on the El Train

    1918
    Edward Hopper (American, 1882–1967)

    Description

    Inscription

    In graphite, l.l.: "Night–The L. Train"; l.r.: "Edward Hopper"

    Provenance

    By 1938, Frederick Keppel & Co., New York), from whom purchased for $25.50 by the MFA. (Accession date: April 14, 1938)

    Credit Line

    Gift of William Emerson

    Details

    Catalogue Raisonné

    Levin 056

    Dimensions

    Platemark: 19.1 x 20.3 cm (7 1/2 x 8 in.) Sheet: 34 x 39.5 cm (13 3/8 x 15 9/16 in.)

    Accession Number

    38.748

    Medium or Technique

    Etching

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Prints

    More Info
  • Falbalas et fanfreluches. Almanach des modes présentes, passées et futures pour 1922[–1926]

    1922–26
    Illustrated by George Barbier (French, 1882–1932), Text by Colette (American, born in 1937), Text by Gérard d' Houville (French, 1875–1963), Text by Cécile Sorel (French, 1875–1966), Text by Anna Elisabeth de Brancovan, comtesse de Noailles (French, 1876–1933), Publisher Meynial (French, 20th century)

    Place of Publication: Paris, France

    Description

    Paris: Meynial [1922-1926]

    Provenance

    W. G. Russell Allen, Boston (1882-1955), by whom bequeathed to MFA, June 8, 1964.

    Credit Line

    Bequest of W. G. Russell Allen

    Details

    Dimensions

    Overall: 25.4 x 17.3 x 3.1 cm (10 x 6 13/16 x 1 1/4 in.)

    Accession Number

    64.789

    Medium or Technique

    Illustrated book with 60 hand-colored etching and aquatints, plus original wrappers

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Illustrated Books

    More Info
  • The Stolen Kiss

    1819
    Benjamin West (American, 1738–1820)

    Description

    Inscription

    Lower left: Benjamin West 1819

    Provenance

    The artist; with "Pictures by West sold by George Robins," London, May 22, 23, and 25, 1829, lot 155; G. Walker, London(?), 1829; George R. White, Boston; to Harriet White (Mrs. Frederick J. Bradbury), his sister, Boston; to MFA, 1930, gift of Harriet J. Bradbury.

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Dimensions

    124.78 x 160.65 cm (49 1/8 x 63 1/4 in.)

    Accession Number

    30.494

    Medium or Technique

    The Stolen Kiss

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Portrait of a Young Married Couple

    about 1621–22
    Jacob Jordaens (Flemish, 1593–1678)

    Description

    Although the sitters in this portrait are unidentified, in all likelihood they were husband and wife. The painting has the typical format of a seventeenth-century marriage portrait, and the ivy clinging to the architecture behind them is a symbol of marital love and fidelity. Although the figures’ poses suggest an affectionate connection to one another, their faces turn to the spectator.

    Provenance

    1880, possibly John Robert Townshend, 1st Earl Sydney (b. 1805 - d. 1890), Kent, England [see note 1]. 1907, Messrs. Lawrie and Co., London; 1907, sold by Lawrie, through Blakeslee Galleries, New York, to Robert Dawson Evans (d. 1909), Boston; 1909, by inheritance to Mrs. Robert Dawson Evans (Maria Antoinette Hunt) (b. 1845 - d. 1917), Boston; 1917, bequest of Mrs. Robert Dawson Evans to the MFA [see note 2]. (Accession Date: November 1, 1917) NOTES: [1] According to notes in the curatorial file, the Earl of Sydney lent a painting attributed to Rubens to the Royal Academy in 1880 (no. 54, "A Lady and a Gentleman," 48 1/2 x 36 1/2 in.). [2] Accessioned as a work by Peter Paul Rubens.

    Credit Line

    Robert Dawson Evans Collection

    Details

    Dimensions

    124.5 x 92.4 cm (49 x 36 3/8 in.)

    Accession Number

    17.3232

    Medium or Technique

    Oil on panel

    On View

    William I. Koch Gallery (Gallery 250)

    Collections

    Europe

    Classifications

    Panels

    More Info
  • Martha Pickman Rogers in Her Wedding Gown

    mid-19th century
    Southworth and Hawes (American, 1843–62)

    Description

    Provenance

    Maxim Karolik, bequest October 1964.

    Credit Line

    Bequest of Maxim Karolik

    Details

    Dimensions

    Image (rounded corners): 13.3 x 10.0 cm (5 1/4 x 3 15/16 in.) Plate: 16.4 x 13.4 cm (6 7/16 x 5 1/4 in.) Closed case: 18.1 x 15.0 x 2.3 cm (7 1/8 x 5 7/8 x 7/8 in.)

    Accession Number

    64.1910

    Medium or Technique

    Photograph, daguerreotype

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • "Rugby - Costume tailleur de Redfern," plate 39 from Gazette du Bon Ton, Volume 1, No. 4

    French
    April 1914
    George Barbier (French, 1882–1932), Illustrating design by John Redfern (English, 1853–1929), Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    Tailleur de Redfern en cheviot neigeuse, orné de parements et de brandebourgs noirs. Le petit gilet et le col de la veste sont en ottoman.

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.21.9

    Medium or Technique

    Photomechanical lithograph with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • "Espérez - Robe du soir, de Worth," plate 48 from Gazette du Bon Ton, Volume 2, No. 6

    French
    July 1922
    George Barbier (French, 1882–1932), Illustrating design by House of Worth (French, 1858-1956), Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    De Worth, une robe du soir en mousseline cirée noire, brodée de perles corail et or, avec grand motif de pierres précieuses.

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.51.8

    Medium or Technique

    Lithograph with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • "La Premiere Imprudence - Robe du soir, de Beer," plate 15 from Gazette du Bon Ton, Volume 1, No. 2

    French
    February 1921
    George Barbier (French, 1882–1932), Illustrating design by House of Beer (French French), Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    Voici une robe du soir, de Beer, en charmeuse verte brodée de jais blanc et de jais noir.

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.37.7

    Medium or Technique

    Engraving with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • "La Loge," plate X from Modes et Manières d'Aujourd'hui, Vol. 3 (1914)

    French
    1914
    Artist George Barbier (French, 1882–1932)

    Object Place: Paris, France

    Description

    Couple seated in theater box (woman in white dress, pink turban with aigrettes), woman in turban and evening coat in background. Caption: “Que son mari appuie au rebord de la loge son gros poing gante de blanc…..”

    Credit Line

    William Morris Hunt Memorial Library, Museum of Fine Arts, Boston

    Copyright

    Library of Museum of Fine Arts, Boston

    Details

    Dimensions

    27.6 x 18 cm (10 7/8 x 7 1/16 in.)

    Accession Number

    DT850.063.1

    Medium or Technique

    Photo offset lithograph with hand-coloring by stencil (pochoir)

    Not On View

    Classifications

    Books and manuscripts, Books

    More Info
  • "Le Départ pour le Casino - Manteau du soir, de Worth," plate 13 from Gazette du Bon Ton, No. 3

    French
    September 1923
    George Barbier (French, 1882–1932), Illustrating design by House of Worth (French, 1858-1956), Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.58.3

    Medium or Technique

    Lithograph with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • A Pavane

    1897
    Edwin Austin Abbey (American, 1852–1911)

    Description

    Hired by his friend the architect Stanford White, Abbey painted A Pavane as an overmantel for the dining room of the prominent New York publisher and diplomat Whitelaw Reid. Reid’s elaborate apartment, the most luxurious in a suite called the Villard Houses (at 50th Street and Madison Avenue in New York City), had been built in the mid-1880s by the architectural firm McKim, Mead,& White, and several rooms were being renovated under White’s supervision. The dining room, some seventy feet (21.3 meters) long, was baronial in style; its Renaissance-inspired decorative scheme was well suited to the house’s palazzo-like exterior and to the social standing and ambition of both the apartment’s original owner, Henry Villard, and that of Reid. Abbey’s canvas was designed to fit over a dark pink marble fireplace and mantel designed by Augustus Saint-Gaudens with his brother Louis; both men were sculptors and friends of White’s. Abbey was a key figure in a group of cosmopolitan artists that included not only White and the Saint-Gaudenses but also, among others, the Americans John Singer Sargent [link to ch. 8] and Francis Millet [1981.77] and the Anglo-Dutch painter Laurence Alma-Tadema [17.3239, 41.117]. Abbey was well known for his carefully detailed and romanticized historical scenes [2008.2]. By the time he began A Pavane, Abbey was also earning great praise as a decorative painter, acclaimed for his series of murals, The Quest and Achievement of the Holy Grail, for the Boston Public Library, a building that had also been designed by McKim, Mead, &White.
    Extensive correspondence documents the course of the Reid commission as Abbey sought, through White, to discern his client’s wishes and to determine the physical parameters for his work. The Reids hoped the painting would brighten a dark room and White had initially proposed a festive banqueting scene, but Abbey offered them an alternative: a display of dancers. By mid-December 1895, Whitelaw Reid told White that he and his wife Elisabeth Mills Reid had “been gradually absorbing the spirit of the two sketches, and trying to make up our minds … I like the idea of a dancing scene quite as well as I should that of a banquet … [and] having the rashness and self-confidence of my sex, I am inclined to believe [Mrs. Reid] will like it as well as I do when it is finished.” [1]

    Abbey’s final composition of dancing couples speaks to the room’s purpose as a place of entertainment and social interaction. His subject, a pavane, a court dance of the Renaissance with stylized movements and stately rhythms, would have complemented the dignified architecture of the room. The rich deep colors were planned to stand out against the marble and dark wood of the fireplace surround, while the luxurious backdrop of patterned cloth enhanced with gold paint would have shimmered in the evening light. Abbey made multiple drawings and oil sketches in his attempt to devise a satisfactory arrangement (these are now in the collection of the Yale University Art Gallery, New Haven, Connecticut). Working in his studio in the rural village of Fairford in Gloucestershire, England, where he had lived since 1891, he settled upon a frieze of figures, bounded by topiary trees, in a shallow space that would have appeared to recede from the mantel. Abbey employed his customary attention to detail, studying with great care the particular aspects of historical clothing and the positions and gestures of each of the dancers. The herringbone pattern of the tiled floor is rendered with painstaking precision, its angles carefully calculated and then disguised with the reflective sheen of figures and fabrics.

    A Pavane is an easel painting, an independent canvas fitted in (but not attached) to its architectural setting. Abbey, in New York in the spring of 1897 to attend to the illness of his wife’s mother, made several final adjustments to his canvas and sent it to the annual exhibition of the Society of American Artists, where a critic for The Collector praised it as “the finest thing” in the show.[2] The writer for the New York Times concurred, adding, “in loftiness of sentiment, nobility of conception and treatment, richness of color, movement, and expression, and gracefulness of the figures and ease of drawing, this superb work is altogether delightful. One almost hears the tinkling of the mandolins.” [3]After the exhibition closed, the canvas was delivered to the Reids, who paid Abbey $5,000 for it. It remained in situ at least until the early 1930s when, following the death of Elisabeth Reid, the apartment was slowly dismantled and closed. The painting stayed in the Reid family until 1951, when Helen Rogers Reid, widow of Whitelaw Reid’s son Ogden, sold it at public auction. The original room and fireplace are intact and extant, now part of the New York Palace Hotel.

    Notes
    1. Whitelaw Reid to Stanford White, December 14, 1895, roll 2073, Saarinen Papers, Archives of American Art, Smithsonian Institution.
    2. The Collector, April 1, 1897, 163.
    3. New York Times, March 27, 1897, BR15.

    Erica E. Hirshler

    Signed

    Signed, dated, and inscribed (at lower right): E.A. Abbey 1897; (at lower left): copyright 1897 by E. A. ABBEY; (on the back): A PAVANNE / E.A. ABBEY / MORGAN HALL / ENGLAND

    Provenance

    1897, commissioned for the home of Whitelaw Reid (1837-1912), New York; 1912, descended through the family to his daughter-in-law, Helen Rogers Reid; March 22-24, 1951, sale, Parke-Bernet Galleries, New York, lot 492 to Giovanni Castano Galleries, Boston. After 1955, Françoise Hermann (1919-2003), Falmouth, Mass.; May 2, 2004, Estate of Francoise Hermann, Bonham's and Butterfields, lot 1160 (as The Dance of the Troubadours). 2004, Hirschl and Adler Galleries, New York; 2004, sold by Hirschl and Adler Galleries to the MFA. (Accession Date: June 23, 2004)

    Credit Line

    Bequest of Susan A.D. McKelvey and Bequest of Kathleen Rothe, by exchange

    Details

    Dimensions

    Image: 101.6 x 261.6 cm (40 x 103 in.) Framed: 114.9 x 275.9 cm (45 1/4 x 108 5/8 in.)

    Accession Number

    2004.238

    Medium or Technique

    Oil on canvas

    On View

    Jan and Warren Adelson Gallery (Gallery 221)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • "Une honnête femme ne reçoit d'argent que de son mari... et de Maxima," advertisement from Gazette du Bon Ton, Volume 1, No. 5, p. III

    French
    May 1914
    Charles Martin (French, 1884–1934), Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.22.11

    Medium or Technique

    Photomechanical lithograph with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • "Nous Sommes a l'Heure," advertisement from Gazette du Bon Ton, Volume 1, No. 4, p. XXIX

    French
    May 1920
    Edouard Halouze (French French), Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.29.12

    Medium or Technique

    Photomechanical lithograph with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • "A. Janesich, Joaillier," advertisement from Gazette du Bon Ton, Volume 1, No. 4, p. XXXII

    French
    May 1920
    Edouard Halouze (French French), Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.29.14

    Medium or Technique

    Photomechanical lithograph with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • "Les Amants de Torquate," plate 34 from Gazette du Bon Ton, Volume 1, No. 5

    French
    May 1921
    Charles Martin (French, 1884–1934), Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    Les amants de Torquate: L’amant est vêtu un peu à la façon d’un “pelotari” (dame!), l’amante habillé d’organdina, qui va bien à la jeunesse et à la saison printanière régnant continuellement à Torquate, île fortunée.

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.40.2

    Medium or Technique

    Engraving with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • "L'Étoile du Berger - Manteau de fourrure, de Max-A. Leroy," plate 47 from Gazette du Bon Ton, No. 9

    French
    May 1924
    Charles Martin (French, 1884–1934), Illustrating design by Max-A. Leroy, Publisher Librairie Centrale des Beaux-arts

    Object Place: Paris, France

    Description

    Provenance

    By 1952, William Morris Hunt Memorial Library; accessioned by MFA, Boston, February 12, 2004

    Credit Line

    Transferred from the William Morris Hunt Memorial Library

    Details

    Dimensions

    Overall: 25.4 x 19.1 cm (10 x 7 1/2 in.)

    Accession Number

    2004.64.1

    Medium or Technique

    Lithograph with hand-applied color (pochoir)

    Not On View

    Collections

    Europe

    Classifications

    Books and manuscripts, Books

    More Info
  • Dante and Beatrice, study for The Rose Garden

    Preliminary sketch for The Rose Garden and titlepage of "The Early Italian Poets".

    before 1861
    Artist Dante Gabriel Rossetti (English, 1828–1882)

    Description

    Inscription

    verso: study of drapery (for figure of Beatrice )

    Provenance

    William H. Schab, New York; from whom purchased by MFA February 13, 1958

    Credit Line

    Print Department Special Fund

    Details

    Dimensions

    Sheet: 17.8 x 13.3 cm (7 x 5 1/4 in.)

    Accession Number

    58.49

    Medium or Technique

    Graphite on heavy cream wove paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Palace scenes with figures

    Chinese
    Qing dynasty, Qianlong period
    Third Quarter of Eighteenth Century

    Description

    Provenance

    18th and 19th centuries, during the Qianlong reign (1735-1796) and Jiaqing reign (1796-1820), in the Qing imperial collection. By 1912, Qin Wenjin (b. 1870 - d. 1940), China; probably given by Qin Wenjin to his son, Qin Gan (b. 1894- d. 1984), China. By about 1980, with a private collector in America; November 25, 1991, anonymous (private collector) sale, Sotheby's New York, lot 61, sold to J. J. Lally & Co., New York; 2002, sold by Lally and Co. to the MFA. (Accession Date: November 20, 2002)

    Credit Line

    Charles Bain Hoyt Fund

    Details

    Dimensions

    Image: 40 x 37 cm (15 3/4 x 14 9/16 in.) Overall: 49.6 x 41.6 cm (19 1/2 x 16 3/8 in.)

    Accession Number

    2002.602.1-12

    Medium or Technique

    Ink, color, and gold on silk

    On View

    Asian Painting Gallery (Gallery 178)

    Collections

    Asia

    Classifications

    Paintings

    More Info
  • Pair statue of Ptahkhenuwy and his wife

    Egyptian
    Old Kingdom, Dynasty 5
    2465–2323 B.C.

    Findspot: Giza, Egypt

    Description

    Private sculpture of the Old Kingdom copied royal sculpture: the poses, youthful body forms, and the wife’s embrace of the husband in this private sculpture is the same as those of King Menkaura and his queen in their dyad. The man here is identified by an inscription painted on the base in black paint as Ptahkhenwy, supervisor of palace retainers. He stands with his left leg forward in the traditional male pose, and his partner, her name no longer legible in the inscription and identified now only as “his wife whom he loved,” stands beside him with both feet together.

    Most Egyptian sculpture was painted, but all too often the paint has not survived. Fortunately, such is not the case with this statue. The husband’s skin is red ochre, the traditional color for men, whose work outside would have left them sunburned. The wife’s yellow-ochre skin reflects the traditional role of women inside the house. Both their facial features are the same. Neither is a true portrait, but rather an idealized likeness of how each wished to be remembered for eternity. Negative space between the couple and the base is painted dark gray.

    The garments of the pair are white, to reflect the color of the undyed linen from which they were made. She wears a V-neck sheath dress that was customary for a woman of the Old Kingdom. It clings so tightly here that it reveals every aspect of her body beneath. Walking would have been impossible. Surviving examples show that in reality, such garments were much looser. He wears a knee-length, wraparound kilt, the most common garment for men.

    Jewelry added bright splashes of color. Both wear broadcollars, brightly painted to imitate semiprecious stone or faience. She wears two anklets and a bracelet in addition, making up a parure that is strikingly similar to actual jewelry found in Old Kingdom tombs. His black wig is composed of curls cut in rows. Natural black hair peeks out from beneath her black wig, which is parted in the center and reaches to shoulder level.

    The statue was found in the serdab of the couple’s tomb and was one of the first objects to be excavated by the Harvard University-Museum of Fine Arts Expedition. The excitement of the Museum Trustees when it first arrived in Boston played a key role in their decision to commit to funding further excavations.

    Provenance

    From Giza, tomb G 2004. 1906: excavated by the Harvard University-Museum of Fine Arts Expedition; 1906: assigned to the MFA by the Egyptian government. (Accession Date: November 8, 1906)

    Credit Line

    Harvard University—Boston Museum of Fine Arts Expedition

    Details

    Dimensions

    Height: 70.14 cm (27 5/8 in.)

    Accession Number

    06.1876

    Medium or Technique

    Painted limestone

    Not On View

    Collections

    The Ancient World

    Classifications

    Sculpture

    More Info
  • Relief of heads of a man and a woman

    Egyptian
    Late Period, late Dynasty 25 to early Dynasty 26
    760–525 B.C.

    Description

    Limestone slab with upper portion of man and woman facing right, in low relief. Traces of color. In front of male head [=unable to enter mark=]; and behind it [=unable to enter mark=].

    Provenance

    By 1953: with Charles D. Kelekian; 1954: purchased from Charles D. Kelekian by the MFA for $600. (Accession date: January 1, 1954)

    Credit Line

    John Wheelock Elliot and John Morse Elliot Fund

    Details

    Dimensions

    Height x width: 14.7 x 39.4 cm (5 13/16 x 15 1/2 in.)

    Accession Number

    54.47

    Medium or Technique

    Limestone

    Not On View

    Collections

    The Ancient World

    Classifications

    Architectural elements, Relief

    More Info
  • Roundel with busts of a man and a woman

    Roman
    Late Imperial Period
    about A.D. 250–270

    Place of Manufacture: Italy, probably Lazio or Campania

    Description

    The man is in a toga contabulata with a rotulus or scroll in his left hand. The woman wears a billowing cloak and a tunic and places her left arm and hand around the shoulders of the man. There is no inscription, little weathering, some encrustation.

    Provenance

    By 1989: with Atlantis Antiquities, 40 East 69th Street, New York, N.Y. 10021; purchased by MFA from Atlantis Antiquities, May 23, 1990

    Credit Line

    Museum purchase with funds by exchange from a bequest of Benjamin Rowland, Jr.

    Details

    Dimensions

    Overall: 46 x 48 cm, 39.9 kg (18 1/8 x 18 7/8 in., 88 lb.) Framed (Aluminum circular wall L-frame /one securement top wall clip): 3.6 x 40.6 x 5.7 cm (1 7/16 x 16 x 2 1/4 in.)

    Accession Number

    1990.242

    Medium or Technique

    Marble, probably from the Greek island of Paros

    On View

    Antioch Mosaic Gallery (Gallery 214A)

    Collections

    The Ancient World

    Classifications

    Sculpture

    More Info
  • Sarcophagus and lid with husband and wife

    Italic, Etruscan
    Late Classical or Early Hellenistic Period
    350–300 B.C.

    Findspot: Italy, Lazio, Vulci

    Description

    The top of the cover takes the form of a bed with pillows, and a man and his wife embrace under a large sheet. She wears a complex earring and he a bracelet of twisted strands. There is no costume visible.

    On the long side below the man is a frieze with four pairs of Greeks and Amazons in combat. A bead-and-reel molding appears above, and simple pilasters frame the scenes on the corners. The other side, the long panel below the woman, has only a plain fillet molding above, suggesting it was the back of the sarcophagus proper. The frieze features two pairs of horsemen and foot soldiers in combat, with a warrior in fighting pose on foot in the center.

    On the left end (facing the frieze with Greeks and Amazons), two lions bring down a bull. The bead-and-reel molding is seen above. On the right end, two griffins are tearing into a fallen horse.

    The condition is, generally speaking, excellent, with some traces of a dark brown deposit and an overall light brown to yellow patina.

    The sarcophagus is inscribed for Thanchvil Tarnai and her husband Larth Tetnies, son of Arnth Tetnies and Ramtha Vishnai.

    Provenance

    By 1845/46: according to Dennis, Cities and Cemeteries of Etruria, p. 472, this sarcophagus and MFA 1975.799 were found at Vulci in the winter of 1845 to 1846 and taken to Musignano; Princess of Canino Collection at Musignano; by unknown date: James Jackson Jarves Collection (according to a catalogue of the exhibition of his collection in 1883, the two sarcophagi were found in the winter of 1842-1843 on the banks of the river Fiora near Vulci); purchased by MFA, 1886

    Credit Line

    Museum purchase with funds donated by Mrs. Gardner Brewer and by contribution and the Benjamin Pierce Cheney Donation

    Details

    Catalogue Raisonné

    Sculpture in Stone (MFA), no. 383; Sculpture in Stone and Bronze (MFA), p. 116 (additional published references).

    Dimensions

    Height x width x length: 93.3 x 117.4 x 213.8 cm (36 3/4 x 46 1/4 x 84 3/16 in.)

    Accession Number

    86.145a-b

    Medium or Technique

    Travertine

    On View

    Greek Archaic Gallery (Gallery 113)

    Collections

    The Ancient World

    Classifications

    Tomb equipment, Models

    More Info
  • Sarcophagus and lid with portraits of husband and wife

    Italic, Etruscan
    Late Classical or Hellenistic Period
    Late 4th–early 3rd century B.C.

    Place of Manufacture: Italy, Lazio, Vulci

    Description

    The cover of the sarcophagus shows a man and woman lying nearly facing each other on a bed with pillows and a large sheet wrapped about them.The portrait of the man is of particular interest to the study of Etruscan (and Early Roman) portraiture, foreshadowing in many respects the Roman Republican portraiture which would, in considerable degree, devlop from the Etruscan form. The woman wears a double fillet or braids around her hair, a heart-shaped earring, and a long chiton with sleeves. It is difficult to tell what, if any, clothing the man was wearing, unless details of costume were added in paint. The pediments at each end of the lid have three ideal, female(?) heads in relief in rosettes.

    The front of the body shows a ceremony, interpreted by some as the couple’s marriage and by others as their reunion in the afterlife. They clasp hands in the center, or (more precisely) he places his hand around her wrist, while he also holds a knotted staff in the left hand. Four attendants follow on either side. Those on the left comprise (from center to corner) a man with a tall staff, a lantern or jar suspended from it; a woman with a tray on her head and a pitcher in her lowered right hand; a woman with a large fan or flabellum and a situla in her lowered right hand; and a woman with a lyre and plectron. On the right appear a young man with a chair; another with a small stick or scepter; a third with a curved horn; and a woman with a wreath and double flutes.

    On the left end, two women, parasol over their heads, ride in a cart drawn by two mules driven by a male attendant. A winged spirit of death waves two snakes at them. On the right end, a bearded magistrate mounts a two-horse chariot, attended by a man with the pastoral staff or lituus.

    Since the man on the major front panel wears the Greek himation, it has been suggested that he is the heroized deceased, leading his wife to the underworld. If such be the case, she may have survived him to have her own separate procession on the left end, and the scene on the front thus may be taken as a symbolic “marriage” ceremony, the union with death and life in the underworld rather than merely in life on earth.

    The lid is broken across at the couple’s legs and has been rejoined, with two small pieces missing. The body has cracks. There are minor chips and abrasions, but the general condition is excellent. The surfaces have a crusty brown patina.

    Provenance

    By 1845/46: according to Dennis, Cities and Cemeteries of Etruria, p. 472, this sarcophagus and MFA 86.145 were found at Vulci in the winter of 1845 to 1846 and taken to Musignano; Princess of Canino Collection at Musignano; by unknown date: James Jackson Jarves Collection (according to a catalogue of the exhibition of his collection in 1883, the two sarcophagi were found in the winter of 1842-1843 on the banks of the river Fiora near Vulci); by 1887: Boston Athenaeum Collection (Ath. 1281); loaned by Boston Athenaeum to MFA from 1887 to 1975 (loan no.1070 a&b); 1975: purchased by MFA from the Boston Athenaeum; approved by Committee on the Collections, March 10, 1976; recorded as gift of Mr. and Mrs. Cornelius C. Vermeule III, by exchange

    Credit Line

    Museum purchase with funds by exchange from a Gift of Mr. and Mrs. Cornelius C. Vermeule III

    Details

    Catalogue Raisonné

    Sculpture in Stone (MFA), no. 384; Sculpture in Stone and Bronze (MFA), p. 116 (additional published references); Highlights: Classical Art (MFA), p. 095.

    Dimensions

    Height : 88 cm (34 5/8 in.); width: 73 cm ( 28 3/4 in.); length: 210 cm (82 11/16 in.)

    Accession Number

    1975.799

    Medium or Technique

    Volcanic tuff

    On View

    Conservation on View: Etruscan Sarcophagi (Gallery 117)

    Collections

    The Ancient World

    Classifications

    Tomb equipment, Coffins, Sarcophagi

    More Info
    Multimedia
    • audio

      ENG_601.mp3

  • A Young Man Offering a Cup of Wine to a Girl

    Persian
    Safavid
    16th century

    Object Place: possibly Herat, Afghanistan or Iran

    Description

    Provenance

    By 1912, Victor Goloubew (b. 1879 - d. 1945), Paris [see note 1]; 1914, sold by Goloubew through M. Meyer-Riefstahl to the MFA for $76,999.81 (total price for 14.532-700). (Accession Date: June 4, 1914) NOTES: [1] Victor Goloubew was born in Russia but lived in Paris by the time of this acquisition. He formed this collection of Persian and Indian miniature paintings and exhibited it at the Musée des Arts Décoratifs in Paris from 1912 to 1914 (Paull, Florence Virginia. "The Goloubew Collection of Persian and Indian Paintings." Museum of Fine Arts Bulletin. Vol. XIII. No. 74. (February 1915) 1-16).

    Credit Line

    Francis Bartlett Donation of 1912 and Picture Fund

    Details

    Dimensions

    Overall: 33.8 x 23.9 cm (13 5/16 x 9 7/16 in.) Image: 20.8 x 15.1 cm (8 3/16 x 5 15/16 in.)

    Accession Number

    14.595

    Medium or Technique

    Album leaf; painting and calligraphy on paper

    Not On View

    Collections

    Asia

    Classifications

    Books and manuscripts

    More Info
  • Young Woman and Man on the Train (from an unidentified series)

    Japanese
    Late Meiji era
    Artist Unknown, Japanese

    Place of Creation: Japan

    Description

    Provenance

    Ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.2532

    Medium or Technique

    Color lithograph; ink and metallic pigment on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Musical Comedy - Dancing

    1912
    Charles Demuth (American, 1883–1935)

    Description

    Inscription

    Top right in pen: C.D. 1912.

    Provenance

    Nathaniel Saltonstall, Boston, MA; gift to MFA, March 9, 1966.

    Credit Line

    Gift of Nathaniel Saltonstall

    Details

    Dimensions

    22.5 x 14.6cm (8 7/8 x 5 3/4in.)

    Accession Number

    66.223

    Medium or Technique

    Watercolor over graphite pencil on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • "Le Baiser du Porion" (Two lovers)

    Armand Louis Rassenfosse (Belgian, 1862–1934 Belgian)

    Description

    Provenance

    PDP Register entry: Bought at the Melsbroeck sale, Brussels, through E. Deman, 86 rue de la Montague. Date acquired, December 19 - 23, 1910.

    Credit Line

    Bequest of William Perkins Babcock, by exchange

    Details

    Accession Number

    M21693

    Medium or Technique

    Intaglio (color printing)

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info

Contents