| marking | key | engine | updatedAt | text | targetText |
|---|---|---|---|---|---|
| i | 804ENcf08219ae55a0-da-libre | libre |
en->da
alpaca
| alpaca | |
| t | 805EN2192b9e865496-es-libre | libre |
en->es
Ascension of Saint Jerome
| Ascensión de San Jerónimo | |
| t | 804ENc44a097e521c1-da-libre | libre |
en->da
Women Enjoying the Evening Cool Near Ryogoku Bridge
| Kvinder nyder aftenen Cool nær Ryogoku broen | |
| t | 804ENcf08219ae55a0-de-libre | libre |
en->de
alpaca
| Alpaca | |
| t | 804ENf693cd6a431b0-es-libre | libre |
en->es
Paris Almanac, 1897: Tail-piece, Autumn
| París Almanac, 1897: Tail-piece, Otoño | |
| t | 805EN00225b636a084-da-libre | libre |
en->da
France, Late 18th century
| Frankrig, slutningen af det 18. århundrede | |
| t | 7f7ENbbf996cdb34d1-es-libre | libre |
en->es
weft-faced compound twill; wool
| twill de lana | |
| t | 804ENc44a097e521c1-de-libre | libre |
en->de
Women Enjoying the Evening Cool Near Ryogoku Bridge
| Frauen genießen die Abendkühle in der Nähe der Ryogoku-Brücke | |
| t | 7f7ENf7e51d024e6a5-da-libre | libre |
en->da
Kambara: Evening Snow
| Kambara: Aften sne | |
| t | 804ENcf08219ae55a0-es-libre | libre |
en->es
alpaca
| alpaca | |
| t | 804ENec338eadb45c7-es-libre | libre |
en->es
Wool and linen: tabby weave, inwoven tapestry ornament
| Lana y lino: tabby weave, adorno de tapicería tejida | |
| t | 804ENec338eadb45c7-da-libre | libre |
en->da
Wool and linen: tabby weave, inwoven tapestry ornament
| Uld og linned: tavle, indvævet tape ornament | |
| t | 804ENfdfc62ed4ebc8-es-libre | libre |
en->es
The Doctor
| El Doctor | |
| t | 805EN00225b636a084-de-libre | libre |
en->de
France, Late 18th century
| Frankreich, Ende 18. Jahrhundert | |
| t | 7f7ENbbf996cdb34d1-da-libre | libre |
en->da
weft-faced compound twill; wool
| amount in units (real) | |
| t | 7f8EN570c9e4ad19fa-es-libre | libre |
en->es
Self-Portrait with Hat and Coat
| Self-Portrait with Hat and Coat | |
| t | 804ENc44a097e521c1-es-libre | libre |
en->es
Women Enjoying the Evening Cool Near Ryogoku Bridge
| Mujeres disfrutando de la guay noche cerca del puente Ryogoku | |
| t | 7f8EN570c9e4ad19fa-da-libre | libre |
en->da
Self-Portrait with Hat and Coat
| Selvportræt med Hat og Coat | |
| t | 7f8EN6deccb51380a6-es-libre | libre |
en->es
embossed copper plate covered with gold leaf
| chapa de cobre en relieve cubierta con hoja de oro | |
| t | 7f8EN6deccb51380a6-de-libre | libre |
en->de
embossed copper plate covered with gold leaf
| geprägte Kupferplatte mit Blattgold überzogen | |
| t | 7f8EN6deccb51380a6-da-libre | libre |
en->da
embossed copper plate covered with gold leaf
| mønsterpresset kobberplade belagt med guldblad | |
| t | 7f7ENe23a262d1dc3b-es-libre | libre |
en->es
This leaf was excised from a volume of a large set of choral books known to have been commissioned by Bartolomeo delle Rovere for Ferrara Cathedral. Delle Rovere, nephew of Pope Sixtus IV, was the Bishop of Ferrara from 1474 to 1494 and his arms appear in the rondel at the bottom of the page-a shield bearing an oak tree (<em>rovere</em> in Italian) surmounted by a patriarchal cross, the symbol of his rank and authority. Payment records indicate that Argenta worked on the choir books for Ferrara Cathedral from 1478 to 1486. The initial <em>M</em> introduces the chant for the Introit (introduction) to the mass for the Feast of Saint Andrew, celebrated on November 30. This date also marks the beginning of the Advent season (leading to Christmas) in the liturgical calendar.
| Esta hoja fue excida de un volumen de un gran conjunto de libros corales conocidos por haber sido encargado por Bartolomeo delle Rovere para la Catedral de Ferrara. Delle Rovere, sobrino del Papa Sixto IV, fue el obispo de Ferrara de 1474 a 1494 y sus brazos aparecen en el rondel en la parte inferior de la página-un escudo que llevaba un roble (un roble)<em>rovere</em> en italiano) coronado por una cruz patriarcal, símbolo de su rango y autoridad. Los registros de pagos indican que Argenta trabajó en los libros de coro para la Catedral de Ferrara de 1478 a 1486. La inicial <em>M</em> presenta el canto de la introducción a la misa para la fiesta de San Andrés, celebrada el 30 de noviembre. Esta fecha también marca el comienzo de la temporada de Adviento (que sale a la Navidad) en el calendario litúrgico. | |
| t | 7f8EN719d0f6907b91-de-libre | libre |
en->de
Standing figurine holding an animal (dog?)
| Standfigur mit einem Tier (Hund?) | |
| i | 804ENe7f379f814a03-da-libre | libre |
en->da
Court Ladies Making Dolls
| Court Ladies Making Dolls | |
| t | 804ENec338eadb45c7-de-libre | libre |
en->de
Wool and linen: tabby weave, inwoven tapestry ornament
| Wolle und Leinen: tabby weave, inwoven tapestry ornament | |
| t | 7f8ENa8808529bfe4c-de-libre | libre |
en->de
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 292r, St. Fiacre
| Stunden von Karl der Edle, König von Navarra (1361-1425): fol. 292r, St. Fiacre | |
| t | 804ENf693cd6a431b0-da-libre | libre |
en->da
Paris Almanac, 1897: Tail-piece, Autumn
| Paris Almanac, 1897: Tail- piece, Efterår | |
| t | 7f8EN3a670272d89dc-es-libre | libre |
en->es
Northwest Coast, Tlingit, 20th century
| Northwest Coast, Tlingit, 20th century | |
| t | 805EN00225b636a084-es-libre | libre |
en->es
France, Late 18th century
| Francia, siglo XVIII | |
| t | 7f7ENe23a262d1dc3b-da-libre | libre |
en->da
This leaf was excised from a volume of a large set of choral books known to have been commissioned by Bartolomeo delle Rovere for Ferrara Cathedral. Delle Rovere, nephew of Pope Sixtus IV, was the Bishop of Ferrara from 1474 to 1494 and his arms appear in the rondel at the bottom of the page-a shield bearing an oak tree (<em>rovere</em> in Italian) surmounted by a patriarchal cross, the symbol of his rank and authority. Payment records indicate that Argenta worked on the choir books for Ferrara Cathedral from 1478 to 1486. The initial <em>M</em> introduces the chant for the Introit (introduction) to the mass for the Feast of Saint Andrew, celebrated on November 30. This date also marks the beginning of the Advent season (leading to Christmas) in the liturgical calendar.
| Dette blad blev fjernet fra en mængde af et stort sæt af koralbøger kendt for at være bestilt af Bartolomeo delle Rovere til Ferrara Cathedral. Delle Rovere, nevø til pave Sixtus IV, var biskoppen af Ferrara fra 1474 til 1494 og hans arme vises i rondel i bunden af page- et skjold bærer et egetræ (<em>rovere</em> på italiensk) overgivet af et patriarkalsk kors, symbolet på hans rang og autoritet. Betalingsoptegnelser viser, at Argenta arbejdede på kor bøger for Ferrara Cathedral fra 1478 til 1486. Den første <em>Læ</em> introducerer sangen for Introit (introduktion) til massen for festen i Saint Andrew, fejres den 30. november. Denne dato markerer også begyndelsen af Advent sæsonen (fører til jul) i den liturgiske kalender. | |
| t | 7f8EN3a670272d89dc-da-libre | libre |
en->da
Northwest Coast, Tlingit, 20th century
| Northwest Coast, Tlingit, 20. århundrede | |
| t | 7f7ENf7e51d024e6a5-es-libre | libre |
en->es
Kambara: Evening Snow
| Kambara: Nieve de noche | |
| t | 7f8ENab6dd079f4488-de-libre | libre |
en->de
The Utrecht artist Gerrit van Honthorst was internationally known as a portrait painter, but he also gained a reputation as a painter of raucous musical scenes and parties. This drawing was once part of an album of compositional types that the artist showed to prospective patrons. Though the cheerful theme of a man and a woman sharing a song seems innocent, such unions often had amorous or lascivious connotations in 17th-century Holland.
| Der Utrechter Künstler Gerrit van Honthorst war international als Porträtmaler bekannt, erhielt aber auch einen Ruf als Maler von raucösen Musikszenen und Partys. Diese Zeichnung war einst Teil eines Albums kompositorischer Typen, das der Künstler Interessenten zeigte. Obwohl das fröhliche Thema eines Mannes und einer Frau, die ein Lied teilt, unschuldig scheint, hatten solche Gewerkschaften oft amorous oder lascivious connotations in 17th-century Holland. | |
| t | 7f8ENab6dd079f4488-da-libre | libre |
en->da
The Utrecht artist Gerrit van Honthorst was internationally known as a portrait painter, but he also gained a reputation as a painter of raucous musical scenes and parties. This drawing was once part of an album of compositional types that the artist showed to prospective patrons. Though the cheerful theme of a man and a woman sharing a song seems innocent, such unions often had amorous or lascivious connotations in 17th-century Holland.
| Utrecht kunstneren Gerrit van Honthorst var internationalt kendt som en portrætmaler, men han fik også et ry som maler af grusomme musikalske scener og fester. Denne tegning var engang en del af et album af kompositionelle typer, som kunstneren viste potentielle protektorer. Selv om det muntre tema om en mand og en kvinde, der deler en sang, synes uskyldig, sådanne fagforeninger ofte havde morsomme eller luskede konnotationer i det 17. århundrede Holland. | |
| t | 804ENb43350aea2cd4-de-libre | libre |
en->de
Yvette Guilbert: à Ménilmontant, de Bruant
| Yvette Guilbert: à Ménilmontant, de Bruant | |
| t | 804ENb43350aea2cd4-da-libre | libre |
en->da
Yvette Guilbert: à Ménilmontant, de Bruant
| Yvette Guilbert: à Ménilmontant, de Bruant | |
| t | 7f8ENbdfe964901b2a-da-libre | libre |
en->da
single channel video on 12-inch flat monitor (1 hr, 27 min, 30 sec; edition 1/3)
| enkelt kanal video på 12-tommer flad skærm (1 time, 27 min, 30 sek; udgave 1 / 3) | |
| t | 7f8ENde95639d1073e-es-libre | libre |
en->es
tabby weave, warp ikat; cotton / embroidery; silk
| tejido tabby, ikat warp; algodón / bordado; seda | |
| t | 7f8ENde95639d1073e-de-libre | libre |
en->de
tabby weave, warp ikat; cotton / embroidery; silk
| tabby weave, Warpikat; Baumwolle / Stickerei; Seide | |
| t | 7f8ENde95639d1073e-da-libre | libre |
en->da
tabby weave, warp ikat; cotton / embroidery; silk
| garn af endeløse kemofibre, ikke i detailsalgsoplægninger | |
| t | 7f8ENef5cb4dd5e488-es-libre | libre |
en->es
photo screenprint and collage
| foto screenprint y collage | |
| t | 7f8ENef5cb4dd5e488-de-libre | libre |
en->de
photo screenprint and collage
| Foto-Bildschirmabdruck und Collage | |
| t | 7f8ENef5cb4dd5e488-da-libre | libre |
en->da
photo screenprint and collage
| foto screenprint og collage | |
| t | 7f8ENfc20b2194002c-es-libre | libre |
en->es
Reynard the Fox
| Reynard el Fox | |
| t | 7f8ENfc20b2194002c-de-libre | libre |
en->de
Reynard the Fox
| Reynard der Fuchs | |
| t | 7f8EN202b12c8d8320-es-libre | libre |
en->es
How I Lost My Whiskers
| Cómo perdí mis pantalones | |
| t | 7f9EN07b526486a086-es-libre | libre |
en->es
Mirror with Jade Disk Inset
| Espejo con Jade Disk Inset | |
| t | 7f9EN07b526486a086-de-libre | libre |
en->de
Mirror with Jade Disk Inset
| Spiegel mit Jade Disk Inset | |
| t | 7f9EN07b526486a086-da-libre | libre |
en->da
Mirror with Jade Disk Inset
| Spejl med Jade Disk Inset | |
| t | 804ENe7f379f814a03-de-libre | libre |
en->de
Court Ladies Making Dolls
| Hof Ladies machen Puppen | |
| t | 7f8EN202b12c8d8320-da-libre | libre |
en->da
How I Lost My Whiskers
| Hvordan jeg mistede min hvisken | |
| t | 7f9EN1055f96d45117-da-libre | libre |
en->da
pale greenish-white jade with brown markings
| bleg grøn-hvid jade med brune markeringer | |
| t | 7f9EN48c8f6a8decf7-es-libre | libre |
en->es
Text, folio 367 (verso), from a Gospel Book with Commentaries
| Texto, folio 367 (verso), de un Libro Evangelio con Comentario | |
| t | 7f9EN48c8f6a8decf7-de-libre | libre |
en->de
Text, folio 367 (verso), from a Gospel Book with Commentaries
| Text, folio 367 (verso), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 804ENf693cd6a431b0-de-libre | libre |
en->de
Paris Almanac, 1897: Tail-piece, Autumn
| Paris Almanac, 1897: Tail-piece, Herbst | |
| t | 7f9EN4ccc4ec272600-es-libre | libre |
en->es
Marguerite Zorach conceived her large, complex embroideries as major artistic statements at a time when the medium was routinely considered “craft,” as opposed to “fine art.” In doing so, she helped to erase such distinctions. One of her most acclaimed works, this example celebrates humanity in harmony with nature, presenting the artist, her husband (a Cleveland-raised sculptor named William Zorach), and their son amid an evergreen tree and four pairs of animals. Very time consuming to create, Zorach’s embroideries are rare.
| Marguerite Zorach concibió sus grandes y complejos bordados como grandes declaraciones artísticas en un momento en que el médium se consideraba rutinariamente como “arte”, en lugar de “arte fino”. Al hacerlo, ayudó a borrar tales distinciones. Una de sus obras más aclamadas, este ejemplo celebra a la humanidad en armonía con la naturaleza, presentando al artista, a su esposo (escultor de Cleveland llamado William Zorach), y a su hijo en medio de un árbol siempre verde y cuatro pares de animales. Consumiendo mucho tiempo para crear, los bordados de Zorach son raros. | |
| t | 7f9EN4ccc4ec272600-de-libre | libre |
en->de
Marguerite Zorach conceived her large, complex embroideries as major artistic statements at a time when the medium was routinely considered “craft,” as opposed to “fine art.” In doing so, she helped to erase such distinctions. One of her most acclaimed works, this example celebrates humanity in harmony with nature, presenting the artist, her husband (a Cleveland-raised sculptor named William Zorach), and their son amid an evergreen tree and four pairs of animals. Very time consuming to create, Zorach’s embroideries are rare.
| Marguerite Zorach konzipierte ihre großen, komplexen Stickereien als bedeutende künstlerische Aussagen zu einer Zeit, als das Medium routinemäßig als Handwerk betrachtet wurde, im Gegensatz zu der feinen Kunst. Dabei half sie, solche Unterscheidungen zu löschen. Eines ihrer bekanntesten Werke, dieses Beispiel feiert die Menschheit in Harmonie mit der Natur, präsentiert die Künstlerin, ihren Mann (ein Cleveland-raised Bildhauer namens William Zorach), und ihren Sohn inmitten eines immergrünen Baumes und vier Paar Tiere. Sehr zeitaufwendig, um zu schaffen, Zorach-Stickereien sind selten. | |
| t | 7f8ENab6dd079f4488-es-libre | libre |
en->es
The Utrecht artist Gerrit van Honthorst was internationally known as a portrait painter, but he also gained a reputation as a painter of raucous musical scenes and parties. This drawing was once part of an album of compositional types that the artist showed to prospective patrons. Though the cheerful theme of a man and a woman sharing a song seems innocent, such unions often had amorous or lascivious connotations in 17th-century Holland.
| El artista Utrecht Gerrit van Honthorst fue conocido internacionalmente como pintor de retratos, pero también ganó una reputación como pintor de escenas y fiestas musicales de raucous. Este dibujo fue una vez parte de un álbum de tipos compositivos que el artista mostró a futuros clientes. Aunque el tema alegre de un hombre y una mujer compartiendo una canción parece inocente, tales sindicatos a menudo tenían connotaciones amorosas o lascívicas en Holanda del siglo XVII. | |
| t | 804ENff10911a376c7-da-libre | libre |
en->da
Martyrdom of St. John
| St. Johns martyrium | |
| t | 7f8EN3a670272d89dc-de-libre | libre |
en->de
Northwest Coast, Tlingit, 20th century
| Nordwestküste, Tlingit, 20. Jahrhundert | |
| t | 7fbEN392ec9688784e-da-libre | libre |
en->da
woodblock for green
| træblok til grøn | |
| t | 7fdEN2fe093a17263a-de-libre | libre |
en->de
black ink, black wash, black paint [?], and purple watercolor
| schwarze Tinte, schwarze Wäsche, schwarze Farbe [?] und lila Aquarell | |
| t | 7f9EN5fc4621b63ef0-de-libre | libre |
en->de
Kiyonobu's prints are usually hand-colored and outlined in black. They often depict actors and scenes from plays. Kiyonobu's was largely responsible for introducing theater prints as commercial products. He is regarded as the founder of the Torii school, which with its close relationship to the theater, dominated printmaking for 75 years until the appearance of Shunsho in the late 1700s.
| Kiyonobu's Drucke sind in der Regel handkoloriert und in Schwarz dargestellt. Sie stellen oft Schauspieler und Szenen aus Theaterstücken dar. Kiyonobu war weitgehend für die Einführung von Theaterdrucken als kommerzielle Produkte verantwortlich. Er gilt als Gründer der Torii-Schule, die mit ihrer engen Beziehung zum Theater 75 Jahre lang bis zum Erscheinen von Shunsho in den späten 1700er Jahren die Druckerei dominierte. | |
| t | 7f9EN5fc4621b63ef0-da-libre | libre |
en->da
Kiyonobu's prints are usually hand-colored and outlined in black. They often depict actors and scenes from plays. Kiyonobu's was largely responsible for introducing theater prints as commercial products. He is regarded as the founder of the Torii school, which with its close relationship to the theater, dominated printmaking for 75 years until the appearance of Shunsho in the late 1700s.
| Kiyonobu aftryk er normalt håndfarvet og skitseret i sort. De skildrer ofte skuespillere og scener fra skuespil. Kiyonobu 's var i høj grad ansvarlig for at indføre teater print som kommercielle produkter. Han betragtes som grundlægger af Torii skole, som med sin tætte forbindelse til teatret, domineret printmaking i 75 år indtil udseendet af Shunsho i slutningen af 1700-tallet. | |
| t | 7f9EN603471801e796-es-libre | libre |
en->es
Tantalus, Plate 9
| Tantalus, Plato 9 | |
| t | 7f9EN603471801e796-de-libre | libre |
en->de
Tantalus, Plate 9
| Tantalus, Teller 9 | |
| t | 7f9EN603471801e796-da-libre | libre |
en->da
Tantalus, Plate 9
| Tantalus, plade 9 | |
| t | 7f9EN8f74e06340894-es-libre | libre |
en->es
Walking Leopard
| Walking Leopard | |
| i | 7f9EN8f74e06340894-de-libre | libre |
en->de
Walking Leopard
| Walking Leopard | |
| i | 7f9EN8f74e06340894-da-libre | libre |
en->da
Walking Leopard
| Walking Leopard | |
| t | 804ENb43350aea2cd4-es-libre | libre |
en->es
Yvette Guilbert: à Ménilmontant, de Bruant
| Yvette Guilbert: à Ménilmontant, de Bruant | |
| t | 7f8EN570c9e4ad19fa-de-libre | libre |
en->de
Self-Portrait with Hat and Coat
| Selbstporträt mit Hut und Mantel | |
| t | 7f8ENbdfe964901b2a-de-libre | libre |
en->de
single channel video on 12-inch flat monitor (1 hr, 27 min, 30 sec; edition 1/3)
| Einzelkanal Video auf 12 Zoll Flachbildschirm (1 Std, 27 Min, 30 sec; Ausgabe 1/3) | |
| t | 7f9ENce70ee121ff6f-es-libre | libre |
en->es
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 118v
| Horas de la Reina Isabella la Católica, Reina de España: Fol. 118v | |
| t | 7f9ENce70ee121ff6f-de-libre | libre |
en->de
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 118v
| Stunden der Königin Isabella der Katholik, Königin von Spanien: Fol. 118v | |
| t | 7f9ENce70ee121ff6f-da-libre | libre |
en->da
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 118v
| Timer af dronning Isabella den katolske, dronning af Spanien: Fol. 118v | |
| t | 7f9ENd611fa1bbd364-es-libre | libre |
en->es
Inside and Outside Calipers
| Calipers interiores y exteriores | |
| t | 7f9ENd611fa1bbd364-de-libre | libre |
en->de
Inside and Outside Calipers
| Innen- und Außenkaliper | |
| t | 7f9ENd611fa1bbd364-da-libre | libre |
en->da
Inside and Outside Calipers
| Indvendig og udvendig kalibrering | |
| t | 7faEN1111ab8a6dd43-es-libre | libre |
en->es
Figure (baàthíl)
| Figure (baàthíl) | |
| t | 7faEN1111ab8a6dd43-de-libre | libre |
en->de
Figure (baàthíl)
| Abbildung (baàthíl) | |
| t | 7faEN1111ab8a6dd43-da-libre | libre |
en->da
Figure (baàthíl)
| Figur (baàthíl) | |
| t | 7faEN1de5f10d2668e-es-libre | libre |
en->es
New Suite of Portfolios of Flowers Ideal to Use for Designing and Painting: Floral Fantasies
| Nueva Suite de Carteras de Flores Ideal para el Diseño y la Pintura: Fantasias Florales | |
| t | 7faEN1de5f10d2668e-de-libre | libre |
en->de
New Suite of Portfolios of Flowers Ideal to Use for Designing and Painting: Floral Fantasies
| Neue Suite von Blumenportfolio Ideal für Design und Gemälde: Blumen Fantasie | |
| t | 7faEN1de5f10d2668e-da-libre | libre |
en->da
New Suite of Portfolios of Flowers Ideal to Use for Designing and Painting: Floral Fantasies
| New Suite af porteføljer af blomster Ideel til at bruge til design og maling: Floral Fantasies | |
| t | 7faEN32fb384646d23-es-libre | libre |
en->es
China, probably Zhejiang province, Eastern Han dynasty (25–220 CE)
| China, probablemente provincia de Zhejiang, dinastía de Han Oriental (25–220 CE) | |
| t | 7faEN32fb384646d23-de-libre | libre |
en->de
China, probably Zhejiang province, Eastern Han dynasty (25–220 CE)
| China, wahrscheinlich Zhejiang Provinz, östliche Han Dynastie (25 Uhr 220 CE) | |
| t | 7faEN32fb384646d23-da-libre | libre |
en->da
China, probably Zhejiang province, Eastern Han dynasty (25–220 CE)
| Kina, sandsynligvis Zhejiang provinsen, Eastern Han dynasty (25-220 CE) | |
| t | 7faEN4db1d4de72c88-es-libre | libre |
en->es
Knotless net; silk, pigment
| Red sin anotaciones; seda, pigmento | |
| t | 7faEN4db1d4de72c88-de-libre | libre |
en->de
Knotless net; silk, pigment
| Knotenloses Netz; Seide, Pigment | |
| t | 7faEN4db1d4de72c88-da-libre | libre |
en->da
Knotless net; silk, pigment
| Knotløst net; silke, pigment | |
| t | 7faEN520a3bcc5e991-es-libre | libre |
en->es
Peru, 20th century
| Perú, siglo XX | |
| t | 7faEN520a3bcc5e991-de-libre | libre |
en->de
Peru, 20th century
| Peru, 20. Jahrhundert | |
| t | 7f8EN719d0f6907b91-es-libre | libre |
en->es
Standing figurine holding an animal (dog?)
| Figura permanente que sostiene un animal (perro?) | |
| t | 7faEN68569ec2bebf4-es-libre | libre |
en->es
"Navajo Style" Belt/Sash
| Cinturón "Navajo Style" / Correa | |
| t | 7faEN68569ec2bebf4-de-libre | libre |
en->de
"Navajo Style" Belt/Sash
| "Navajo Style" Gürtel/Sash | |
| t | 7faEN68569ec2bebf4-da-libre | libre |
en->da
"Navajo Style" Belt/Sash
| "Navajo Style" Belt / Sash | |
| t | 7faEN6d1d3f3d1713a-es-libre | libre |
en->es
The Idolatry of Solomon
| La Idolatría de Salomón | |
| t | 7faEN6d1d3f3d1713a-de-libre | libre |
en->de
The Idolatry of Solomon
| Die Idolarie Salomos | |
| t | 7faEN6d1d3f3d1713a-da-libre | libre |
en->da
The Idolatry of Solomon
| Salomons Idolatry | |
| t | 7f7ENe23a262d1dc3b-de-libre | libre |
en->de
This leaf was excised from a volume of a large set of choral books known to have been commissioned by Bartolomeo delle Rovere for Ferrara Cathedral. Delle Rovere, nephew of Pope Sixtus IV, was the Bishop of Ferrara from 1474 to 1494 and his arms appear in the rondel at the bottom of the page-a shield bearing an oak tree (<em>rovere</em> in Italian) surmounted by a patriarchal cross, the symbol of his rank and authority. Payment records indicate that Argenta worked on the choir books for Ferrara Cathedral from 1478 to 1486. The initial <em>M</em> introduces the chant for the Introit (introduction) to the mass for the Feast of Saint Andrew, celebrated on November 30. This date also marks the beginning of the Advent season (leading to Christmas) in the liturgical calendar.
| Dieses Blatt wurde aus einer Menge von großen Choralbüchern, die bekanntermaßen von Bartolomeo delle Rovere für die Ferrara-Kathedrale in Auftrag gegeben wurden, entnommen. Delle Rovere, Neffe von Papst Sixtus IV, war der Bischof von Ferrara von 1474 bis 1494 und seine Arme erscheinen in der Rondel am Ende der Seite-ein Schild mit einer Eiche (<em>Rover</em> auf Italienisch) von einem patriarchalischen Kreuz überragt, das Symbol seiner Rang und Autorität. Die Zahlungsaufzeichnungen zeigen, dass Argenta von 1478 bis 1486 an den Chorbüchern für die Kathedrale Ferrara arbeitete. Die erste <em>M</em> führt den Gesang für die Introit (Einführung) zur Messe für das Fest des heiligen Andreas, gefeiert am 30. November. Dieses Datum markiert auch den Beginn der Adventszeit (zu Weihnachten führend) im liturgischen Kalender. | |
| t | 804ENe7f379f814a03-es-libre | libre |
en->es
Court Ladies Making Dolls
| Juzgado señoras haciendo muñecas | |
| t | 7f8ENa8808529bfe4c-es-libre | libre |
en->es
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 292r, St. Fiacre
| Horas de Carlos el noble, rey de Navarra (1361-1425): fol. 292r, San Fiacre | |
| t | 7faENa51bbd6310afb-es-libre | libre |
en->es
Text, folio 256 (verso), from a Gospel Book with Commentaries
| Texto, folio 256 (verso), de un Libro Evangelio con Comentario | |
| t | 7faENa51bbd6310afb-de-libre | libre |
en->de
Text, folio 256 (verso), from a Gospel Book with Commentaries
| Text, folio 256 (verso), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 7faENa51bbd6310afb-da-libre | libre |
en->da
Text, folio 256 (verso), from a Gospel Book with Commentaries
| Tekst, folio 256 (verso), fra en evangeliebog med kommentarer | |
| t | 7faENb1fe85f173baf-es-libre | libre |
en->es
The Farm at the Entrance of the Wood
| La finca en la entrada de la madera | |
| t | 7faENb1fe85f173baf-de-libre | libre |
en->de
The Farm at the Entrance of the Wood
| Der Bauernhof am Eingang des Waldes | |
| t | 7faENb1fe85f173baf-da-libre | libre |
en->da
The Farm at the Entrance of the Wood
| The Farm ved indgangen til skoven | |
| t | 7faENc9d5e9a8ae1aa-es-libre | libre |
en->es
Chateau Fontainebleau and Gardens
| Chateau Fontainebleau y Jardines | |
| t | 7f7ENb7fbf18e9ff97-da-libre | libre |
en->da
Often collected by wealthy British merchants who were beneficiaries of colonial expansion, figural groups were frequently part of elaborate table decorations meant to signify wealth and global prominence. In one pair, Europe is seen holding an orb and wearing a crown as queen of the world, suggesting Europe’s supremacy over the other continents. She is entangled with America, who is wearing feathers with a bow and arrow at her feet. Africa, who wears an elephant headdress and holds a scorpion in one hand, wrestles with Asia, who is surrounded by perfumes and native fruits. Today we recognize these depictions of America, Africa, and Asia as racial stereotypes, revealing a purely imagined understanding of other cultures and continents at the time.
| Ofte indsamlet af velhavende britiske grossister, der var modtagere af kolonial ekspansion, figurale grupper var ofte en del af omfattende borddekorationer beregnet til at betyde rigdom og global fremtrædende plads. I det ene par ses Europa holde en kugle og bære en krone som dronning af verden, hvilket antyder Europas overherredømme over de andre kontinenter. Hun er forbundet med Amerika, som bærer fjer med bue og pil ved hendes fødder. Afrika, der bærer en elefant hedning og holder en skorpion i den ene hånd, kæmper med Asien, der er omgivet af parfumer og indfødte frugter. I dag anerkender vi disse afbildninger af Amerika, Afrika og Asien som racestereotyper, der afslører en rent forestillet forståelse af andre kulturer og kontinenter på det tidspunkt. | |
| t | 7faENc9d5e9a8ae1aa-da-libre | libre |
en->da
Chateau Fontainebleau and Gardens
| Chateau Fontainebleau og Gardens | |
| t | 7faENe3ab0e1856708-es-libre | libre |
en->es
Silk, metal strips, linen
| Seda, tiras de metal, lino | |
| t | 7faENe3ab0e1856708-de-libre | libre |
en->de
Silk, metal strips, linen
| Seide, Metallstreifen, Leinen | |
| t | 7faENe3ab0e1856708-da-libre | libre |
en->da
Silk, metal strips, linen
| Silkebånd, metalstrimler, linned | |
| t | 7fbEN392ec9688784e-es-libre | libre |
en->es
woodblock for green
| candado de madera para verde | |
| t | 7fbEN4b72cf3861ba2-es-libre | libre |
en->es
This folio is the first in the series. The composition is set in a geometrical palatial setting with four chambers. In one room, a man dressed in royal garb holds a scale in front of Madhava. A woman curiously observes the scene from the chamber above. In the middle, a priest sits reading a text, and a warrior occupies the space at the right, holding his shield.
| Este folio es el primero de la serie. La composición se establece en un entorno geométrico palaciego con cuatro cámaras. En una habitación, un hombre vestido de ginebra real tiene una escala delante de Madhava. Una mujer observa curiosamente la escena de la cámara anterior. En el medio, un sacerdote se sienta leyendo un texto, y un guerrero ocupa el espacio a la derecha, sosteniendo su escudo. | |
| t | 7f9EN4ccc4ec272600-da-libre | libre |
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Marguerite Zorach conceived her large, complex embroideries as major artistic statements at a time when the medium was routinely considered “craft,” as opposed to “fine art.” In doing so, she helped to erase such distinctions. One of her most acclaimed works, this example celebrates humanity in harmony with nature, presenting the artist, her husband (a Cleveland-raised sculptor named William Zorach), and their son amid an evergreen tree and four pairs of animals. Very time consuming to create, Zorach’s embroideries are rare.
| Marguerite Zorach udtænkte sine store, komplekse broderier som store kunstneriske udsagn på et tidspunkt, hvor mediet rutinemæssigt blev betragtet som "håndværk" i modsætning til "fin kunst". Ved at gøre det, hun hjalp med at slette sådanne sondringer. En af hendes mest roste værker, dette eksempel fejrer menneskeheden i harmoni med naturen, præsenterer kunstneren, hendes mand (en Cleveland- rejst billedhugger ved navn William Zorach), og deres søn midt i et stedsegrønt træ og fire par dyr. Meget tidskrævende at skabe, Zorachs broderier er sjældne. | |
| t | 804ENfdfc62ed4ebc8-de-libre | libre |
en->de
The Doctor
| Der Arzt | |
| t | 804ENff10911a376c7-de-libre | libre |
en->de
Martyrdom of St. John
| Martyrium von St. John | |
| t | 7fbEN392ec9688784e-de-libre | libre |
en->de
woodblock for green
| Holzschnitt für Grün | |
| t | 7fbEN63fd36ffcef21-de-libre | libre |
en->de
Snuff Bottle with Floral Scrolls
| Snuff Flasche mit Blumenrollen | |
| t | 7fbEN63fd36ffcef21-da-libre | libre |
en->da
Snuff Bottle with Floral Scrolls
| Snuff flaske med Floral Scrolls | |
| t | 7fbEN6636b875ed0b3-es-libre | libre |
en->es
Every night for 52 nights the sly domesticated parrot encourages his master's wife Khujasta to meet her lover under cover of darkness. Just before she leaves, he mentions a topic from a tantalizing tale; she becomes so curious that she cannot go out before hearing the whole story. By the time the story ends, dawn breaks, and it is too late for her to go out unnoticed. The gold sky and geometric tile patterns are derived from Persian sources while Khujasta's figure shown in profile and style of dress are purely Indian. The artist has chosen to tilt the carpet up in defiance of realistic perspective to show off the fine arabesque motif. The checkered bedspread calls attention to the empty bed and Khujasta's longing to be with her lover.
| Cada noche durante 52 noches, el sly domesticated loro anima a la esposa de su amo Khujasta a encontrarse con su amante bajo cubierta de oscuridad. Justo antes de que se vaya, menciona un tema de un relato tantalizante; se vuelve tan curioso que no puede salir antes de escuchar toda la historia. Para cuando la historia termina, el amanecer se rompe, y es demasiado tarde para que salga sin darse cuenta. El cielo de oro y los patrones de azulejos geométricos se derivan de fuentes persas, mientras que la figura de Khujasta mostrada en perfil y estilo de vestido son puramente indios. El artista ha optado por inclinar la alfombra en desafío de perspectiva realista para mostrar el fino motivo arabesco. El pan de cama con chequera llama la atención a la cama vacía y Khujasta desea estar con su amante. | |
| t | 7fbEN6636b875ed0b3-de-libre | libre |
en->de
Every night for 52 nights the sly domesticated parrot encourages his master's wife Khujasta to meet her lover under cover of darkness. Just before she leaves, he mentions a topic from a tantalizing tale; she becomes so curious that she cannot go out before hearing the whole story. By the time the story ends, dawn breaks, and it is too late for her to go out unnoticed. The gold sky and geometric tile patterns are derived from Persian sources while Khujasta's figure shown in profile and style of dress are purely Indian. The artist has chosen to tilt the carpet up in defiance of realistic perspective to show off the fine arabesque motif. The checkered bedspread calls attention to the empty bed and Khujasta's longing to be with her lover.
| Jede Nacht für 52 Nächte ermutigt der sly domestizierte Papagei die Frau seines Herrn Khujasta, ihren Liebhaber unter dem Deckmantel der Dunkelheit zu treffen. Kurz bevor sie verlässt, erwähnt er ein Thema aus einer verlockenden Geschichte; sie wird so neugierig, dass sie nicht ausgehen kann, bevor sie die ganze Geschichte hört. Wenn die Geschichte endet, bricht die Morgendämmerung, und es ist zu spät für sie, unbemerkt herauszugehen. Der Goldhimmel und geometrische Fliesenmuster werden aus persischen Quellen abgeleitet, während Khujastas Figur in Profil und Kleidstil rein indisch dargestellt ist. Der Künstler hat sich dafür entschieden, den Teppich trotz realistischer Perspektive zu kippen, um das fein arabeske Motiv zu zeigen. Die karierte Bettdecke lenkt Aufmerksamkeit auf das leere Bett und Khujasta sehnt sich nach ihrem Liebhaber. | |
| t | 7fbEN6636b875ed0b3-da-libre | libre |
en->da
Every night for 52 nights the sly domesticated parrot encourages his master's wife Khujasta to meet her lover under cover of darkness. Just before she leaves, he mentions a topic from a tantalizing tale; she becomes so curious that she cannot go out before hearing the whole story. By the time the story ends, dawn breaks, and it is too late for her to go out unnoticed. The gold sky and geometric tile patterns are derived from Persian sources while Khujasta's figure shown in profile and style of dress are purely Indian. The artist has chosen to tilt the carpet up in defiance of realistic perspective to show off the fine arabesque motif. The checkered bedspread calls attention to the empty bed and Khujasta's longing to be with her lover.
| Hver aften i 52 nætter opmuntrer papegøjen sin herres kone Khujasta til at møde sin elsker under dække af mørket. Lige før hun går, nævner han et emne fra en tantaliserende historie; hun bliver så nysgerrig, at hun ikke kan gå ud, før du hører hele historien. Når historien slutter, bryder daggry, og det er for sent for hende at gå ubemærket ud. Guldhimlen og geometriske flise mønstre er afledt af persiske kilder, mens Khujasta figur vist i profil og stil kjole er rent indiske. Kunstneren har valgt at vippe tæppet op i strid med realistiske perspektiv for at vise det fine arabeske motiv. Den ternede sengetæppe tiltrækker opmærksomhed til den tomme seng og Khujasta længes efter at være sammen med sin elsker. | |
| t | 7fbEN9ca0065b9c422-es-libre | libre |
en->es
Text Page, Persian Verses (recto); Bahram Gur meets Arzu, the Daughter of Mahiyar (verso)
| Text Page, Persian Verses (recto); Bahram Gur se reúne con Arzu, la Hija de Mahiyar () | |
| t | 7fbEN9ca0065b9c422-de-libre | libre |
en->de
Text Page, Persian Verses (recto); Bahram Gur meets Arzu, the Daughter of Mahiyar (verso)
| Textseite, Persische Verse (recto); Bahram Gur trifft Arzu, die Tochter Mahiyars (verso) | |
| t | 7fbEN9ca0065b9c422-da-libre | libre |
en->da
Text Page, Persian Verses (recto); Bahram Gur meets Arzu, the Daughter of Mahiyar (verso)
| Tekst Side, Persiske vers (recto); Bahram Gur møder Arzu, datter af Mahiyar (verso) | |
| t | 7fbENb1c92ee7a8349-es-libre | libre |
en->es
Scabbard (Case)
| Scabbard (Caso) | |
| t | 7fbENb1c92ee7a8349-de-libre | libre |
en->de
Scabbard (Case)
| Scabbard (Fall) | |
| t | 7fbENb1c92ee7a8349-da-libre | libre |
en->da
Scabbard (Case)
| Scabbard (sag) | |
| t | 7fbENb23021b620763-es-libre | libre |
en->es
blue-glazed steatite
| blue-glazed steatite | |
| t | 7fbENb23021b620763-de-libre | libre |
en->de
blue-glazed steatite
| Steatit aus Blauglas | |
| t | 7fbENb23021b620763-da-libre | libre |
en->da
blue-glazed steatite
| blåglaseret steatit | |
| t | 7fbENb74a893062191-es-libre | libre |
en->es
River Village in a Rainstorm
| River Village en una tormenta de lluvias | |
| t | 7fbENb74a893062191-de-libre | libre |
en->de
River Village in a Rainstorm
| River Village in einem Regensturm | |
| i | 7fbENb74a893062191-da-libre | libre |
en->da
River Village in a Rainstorm
| River Village in a Rainstorm | |
| t | 7fbENc462165ea96a9-es-libre | libre |
en->es
Reclining Male Nude
| Reclinación de Male Nude | |
| i | 7fbENc462165ea96a9-de-libre | libre |
en->de
Reclining Male Nude
| Reclining Male Nude | |
| t | 7fbENc462165ea96a9-da-libre | libre |
en->da
Reclining Male Nude
| Genkender mandlige nøgenName | |
| t | 7fbENca36fb7bf133c-es-libre | libre |
en->es
The Ravisher portrays a chaotic struggle between a woman and Death, personified here as a wild-eyed corpse-like man. Having mistaken Death as her lover, she attempts to flee, but is thwarted by his firm grip. Images that feature Death often communicated moralizing messages about the dangers of sin and the fleeting nature of life. Had Dürer thought it necessary, he would have included an inscription in the scroll above. However, this could have been redundant since the horror of the scene clearly indicates that Death was exacting payment for the woman’s life of sin.
| El Ravisher retrata una lucha caótica entre una mujer y la muerte, personificada aquí como un hombre de cuerpo salvaje. Habiendo confundido la muerte como su amante, ella intenta huir, pero está frustrada por su firme agarre. Imágenes que cuentan con la Muerte a menudo comunican mensajes moralizantes sobre los peligros del pecado y la naturaleza fugaz de la vida. Si Dürer hubiera pensado que era necesario, habría incluido una inscripción en el pergamino anterior. Sin embargo, esto podría haber sido redundante ya que el horror de la escena indica claramente que la Muerte estaba cobrando por la vida de la mujer del pecado. | |
| t | 7f9ENa1607c179f5fe-es-libre | libre |
en->es
China, Chinese Export -- English or American Market (probably), 19th century
| China, exportación china - mercado inglés o americano (probablemente), siglo XIX | |
| t | 7f7ENf7e51d024e6a5-de-libre | libre |
en->de
Kambara: Evening Snow
| Kambara: Abend Schnee | |
| t | 7f9ENa1607c179f5fe-de-libre | libre |
en->de
China, Chinese Export -- English or American Market (probably), 19th century
| China, Chinesischer Export -- Englischer oder amerikanischer Markt (wahrscheinlich), 19. Jahrhundert | |
| t | 7f8ENbdfe964901b2a-es-libre | libre |
en->es
single channel video on 12-inch flat monitor (1 hr, 27 min, 30 sec; edition 1/3)
| vídeo de canal único en monitor plano de 12 pulgadas (1 hr, 27 min, 30 segundos; edición 1/3) | |
| t | 7f9ENa1607c179f5fe-da-libre | libre |
en->da
China, Chinese Export -- English or American Market (probably), 19th century
| Kina, kinesisk eksport -- Engelsk eller amerikansk marked (sandsynligvis), 19. århundrede | |
| t | 7fbENca36fb7bf133c-da-libre | libre |
en->da
The Ravisher portrays a chaotic struggle between a woman and Death, personified here as a wild-eyed corpse-like man. Having mistaken Death as her lover, she attempts to flee, but is thwarted by his firm grip. Images that feature Death often communicated moralizing messages about the dangers of sin and the fleeting nature of life. Had Dürer thought it necessary, he would have included an inscription in the scroll above. However, this could have been redundant since the horror of the scene clearly indicates that Death was exacting payment for the woman’s life of sin.
| Ravisher skildrer en kaotisk kamp mellem en kvinde og Døden, personificeret her som en vildøjet lig-som mand. Efter at have misforstået Døden som hendes elsker, forsøger hun at flygte, men er hæmmet af hans faste greb. Billeder, der viser Døden, kommunikerede ofte moraliserende budskaber om farerne ved synd og livets flygtige natur. Havde Dürer fundet det nødvendigt, ville han have inkluderet en indskrift i rullen ovenfor. Men dette kunne have været overflødigt, da rædslen på scenen klart indikerer, at Døden krævede betaling for kvindens liv i synd. | |
| t | 7fbENf311d1baa6fb0-es-libre | libre |
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The Gotha Missal: Fol. 10v, Text
| The Gotha Missal: Fol. 10v, Text | |
| t | 7fbENf311d1baa6fb0-de-libre | libre |
en->de
The Gotha Missal: Fol. 10v, Text
| The Gotha Missal: Fol. 10v, Text | |
| t | 7fbENf311d1baa6fb0-da-libre | libre |
en->da
The Gotha Missal: Fol. 10v, Text
| Gotha Missal: Fol. 10v, Tekst | |
| t | 7fcEN117f3aeebc617-es-libre | libre |
en->es
Camera Work: The White House
| Trabajo de cámara: La Casa Blanca | |
| t | 7fcEN117f3aeebc617-de-libre | libre |
en->de
Camera Work: The White House
| Kameraarbeit: Das Weiße Haus | |
| t | 7fcEN117f3aeebc617-da-libre | libre |
en->da
Camera Work: The White House
| Kamera arbejde: Det Hvide Hus | |
| t | 7fcEN409307eda54c3-es-libre | libre |
en->es
Egypt, Fatimid period, Caliphate of al-Zahir, 1031
| Egipto, periodo fatimí, Califato de al-Zahir, 1031 | |
| t | 7fcEN409307eda54c3-de-libre | libre |
en->de
Egypt, Fatimid period, Caliphate of al-Zahir, 1031
| Ägypten, Fatimidperiode, Kalifat von al-Zahir, 1031 | |
| t | 7fcEN409307eda54c3-da-libre | libre |
en->da
Egypt, Fatimid period, Caliphate of al-Zahir, 1031
| Egypten, Fatimid periode, Kalifat af al- Zahir, 1031 | |
| t | 7fcEN42f997bed6736-es-libre | libre |
en->es
Silk crepe (chirimen)
| Crema de seda (chirimen) | |
| t | 7fcEN42f997bed6736-de-libre | libre |
en->de
Silk crepe (chirimen)
| Seidenkrepp (Chilimen) | |
| t | 7fcEN42f997bed6736-da-libre | libre |
en->da
Silk crepe (chirimen)
| Silkcrepe (chirimen) | |
| t | 7fcEN44cebb2e56eb1-es-libre | libre |
en->es
Egypt and Nubia, Volume I: General View of the Ruins of Luxor, From the Nile
| Egipto y Nubia, Volumen I: Vista general de las Ruinas de Luxor, Del Nilo | |
| t | 7fcEN44cebb2e56eb1-de-libre | libre |
en->de
Egypt and Nubia, Volume I: General View of the Ruins of Luxor, From the Nile
| Ägypten und Nubia, Band I: Allgemeine Ansicht der Ruinen von Luxor, Aus dem Nil | |
| t | 7fcEN44cebb2e56eb1-da-libre | libre |
en->da
Egypt and Nubia, Volume I: General View of the Ruins of Luxor, From the Nile
| Egypten og Nubia Bind I: Generel oversigt over ruinerne af Luxor, fra Nilen | |
| t | 7fcEN640168bdbc4c2-es-libre | libre |
en->es
Six Marines: Low Tide
| Seis marines: Baja marea | |
| t | 7fcEN640168bdbc4c2-de-libre | libre |
en->de
Six Marines: Low Tide
| Sechs Marines: Niedriger Deckel | |
| t | 7fcEN640168bdbc4c2-da-libre | libre |
en->da
Six Marines: Low Tide
| Seks marinesoldater: Lavt tideName | |
| t | 7fcEN6c067b3ca3c79-es-libre | libre |
en->es
Pastures, Branchville, Connecticut
| Pasturas, Branchville, Connecticut | |
| i | 7fcEN6c067b3ca3c79-de-libre | libre |
en->de
Pastures, Branchville, Connecticut
| Pastures, Branchville, Connecticut | |
| t | 7fcEN6c067b3ca3c79-da-libre | libre |
en->da
Pastures, Branchville, Connecticut
| Græskar, Branchville, Connecticut | |
| t | 7fcEN8a64dff2632a0-es-libre | libre |
en->es
bound volume with brown paper-covered board covers, title page, colophon, table of contents and twelve wood engravings
| volumen ligado con cubiertas de papel marrón, página de título, colofonía, tabla de contenidos y doce grabados de madera | |
| t | 7fcEN8a64dff2632a0-de-libre | libre |
en->de
bound volume with brown paper-covered board covers, title page, colophon, table of contents and twelve wood engravings
| gebundenes Volumen mit braunen papierüberzogenen Brettbezügen, Titelseite, Colophon, Inhaltsverzeichnis und zwölf Holzstichen | |
| t | 7fcEN8a64dff2632a0-da-libre | libre |
en->da
bound volume with brown paper-covered board covers, title page, colophon, table of contents and twelve wood engravings
| bundet volumen med brune papir- overdækket karton, titelside, colofon, indholdsfortegnelse og tolv træstik | |
| t | 7fcEN8f321a95bfde9-es-libre | libre |
en->es
Millbank
| Millbank | |
| i | 7fcEN8f321a95bfde9-de-libre | libre |
en->de
Millbank
| Millbank | |
| t | 7fcEN8f321a95bfde9-da-libre | libre |
en->da
Millbank
| Millbank Formand | |
| t | 7fcENb277e9ec2d1f2-es-libre | libre |
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watercolor on ivory in gold mount
| acuarela sobre marfil en oro | |
| t | 7fcENb277e9ec2d1f2-de-libre | libre |
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watercolor on ivory in gold mount
| Aquarell auf Elfenbein in Goldhalterung | |
| t | 7fcENb277e9ec2d1f2-da-libre | libre |
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watercolor on ivory in gold mount
| vandfarve på elfenben i guld mount | |
| t | 7fcENefae2afd232d2-es-libre | libre |
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The Several Habits of English Women, from the Nobility to the Country Women as they are in these times: The Veiled Woman
| Los varios hábitos de las mujeres inglesas, desde la nobleza hasta las mujeres del país como en estos tiempos: La mujer velada | |
| t | 7fcENefae2afd232d2-de-libre | libre |
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The Several Habits of English Women, from the Nobility to the Country Women as they are in these times: The Veiled Woman
| Die mehrere Habiten der englischen Frauen, vom Adel zum Land Frauen, wie sie in diesen Zeiten sind: Die Veiled Woman | |
| t | 7fcENefae2afd232d2-da-libre | libre |
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The Several Habits of English Women, from the Nobility to the Country Women as they are in these times: The Veiled Woman
| De Flere Vaner af Engelske Kvinder, fra Nobility til Land Kvinder som de er i disse tider: Den fortabte kvinde | |
| t | 7fdEN059e86be54f01-es-libre | libre |
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This engraving is part of the Tarocchi group marked with the letter “E,” and named <em>Conditions of Man</em>. This series outlines the social and hierarchical order of ten characters (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Emperor, and Pope), starting from the lower grade and ending with the most important one. <br><br>Here, <em>Doxe </em>(The Doge) is shown as a full-length male figure, turned to the left. Clasped in a long cloak, the Doge wears his distinctive pointed hat, called <em>zoggia</em>.
| Este grabado es parte del grupo Tarocchi marcado con la letra E, y nombrado <em>Condiciones del hombre</em>. Esta serie describe el orden social y jerárquico de diez personajes (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Emperor, and Pope), comenzando desde el grado inferior y terminando con el más importante. <br/><br/>Aquí, <em>Doxe </em>(El Doge) se muestra como una figura masculina de longitud completa, girada a la izquierda. Cierra en un largo manto, el Doge lleva su distintivo sombrero puntiagudo, llamado <em>zoggia</em>. | |
| t | 7fdEN059e86be54f01-de-libre | libre |
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This engraving is part of the Tarocchi group marked with the letter “E,” and named <em>Conditions of Man</em>. This series outlines the social and hierarchical order of ten characters (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Emperor, and Pope), starting from the lower grade and ending with the most important one. <br><br>Here, <em>Doxe </em>(The Doge) is shown as a full-length male figure, turned to the left. Clasped in a long cloak, the Doge wears his distinctive pointed hat, called <em>zoggia</em>.
| Dieses Gravur ist Teil der Tarocchi Gruppe mit dem Buchstaben markiert, <em>Bedingungen des Menschen</em>. Diese Serie beschreibt die soziale und hierarchische Ordnung von zehn Zeichen (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Kaiser und Papst), beginnend von der unteren Klasse und endet mit dem wichtigsten. <br/><br/>Hier. <em>Doxe </em>(The Doge) ist eine männliche Figur in voller Länge, die nach links gedreht wird. In einem langen Mantel, der Dogen trägt seinen markanten spitzen Hut, genannt <em>Zoggia</em>. | |
| t | 7fdEN059e86be54f01-da-libre | libre |
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This engraving is part of the Tarocchi group marked with the letter “E,” and named <em>Conditions of Man</em>. This series outlines the social and hierarchical order of ten characters (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Emperor, and Pope), starting from the lower grade and ending with the most important one. <br><br>Here, <em>Doxe </em>(The Doge) is shown as a full-length male figure, turned to the left. Clasped in a long cloak, the Doge wears his distinctive pointed hat, called <em>zoggia</em>.
| Denne gravering er en del af Tarocchi gruppen markeret med bogstavet "E", og navngivet <em>Menneskets tilstand</em>. Denne serie skitserer den sociale og hierarkiske rækkefølge af ti tegn (Beggar, Tjener, Kunstner, Merchant, gentleman, Knight, Doge King, Kejser, og Pope), startende fra den nederste klasse og slutter med den vigtigste. <br/><br/>Her. <em>Doxe </em>(The Doge) er vist som en fuld længde mandlige figur, drejet til venstre. I en lang kappe bærer Dogen sin særlige spids hat, kaldet <em>zoggia</em>. | |
| t | 7fdEN08e3e5f6f5b3b-es-libre | libre |
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stoneware with "oil spot" glaze, black ware
| de piedra con "punto de aceite" esmalte, avite negro | |
| t | 7fdEN08e3e5f6f5b3b-de-libre | libre |
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stoneware with "oil spot" glaze, black ware
| Steinzeug mit "Ölfleck" Glasur, schwarze Ware | |
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stoneware with "oil spot" glaze, black ware
| stentøj med "olie plet" glasur, sort ware | |
| t | 7fdEN0951014453b8a-es-libre | libre |
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Wild Rose
| Wild Rose | |
| i | 7f8ENfc20b2194002c-da-libre | libre |
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Reynard the Fox
| Reynard the Fox | |
| t | 7fdEN0951014453b8a-da-libre | libre |
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Wild Rose
| Vilde roser | |
| t | 7fdEN2fe093a17263a-da-libre | libre |
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black ink, black wash, black paint [?], and purple watercolor
| sort blæk, sort vask, sort maling [?], og lilla vandfarve | |
| t | 7fdEN48ae30c1c2be2-es-libre | libre |
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Text, folio 331 (verso), from a Gospel Book with Commentaries
| Texto, folio 331 (verso), de un Libro Evangelio con Comentario | |
| t | 7fdEN48ae30c1c2be2-de-libre | libre |
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Text, folio 331 (verso), from a Gospel Book with Commentaries
| Text, folio 331 (verso), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 7fdEN48ae30c1c2be2-da-libre | libre |
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Text, folio 331 (verso), from a Gospel Book with Commentaries
| Tekst, folio 331 (verso), fra en evangeliebog med kommentarer | |
| t | 7fdEN4c1d43b9e7076-es-libre | libre |
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Text, folio 99 (recto), from a Gospel Book with Commentaries
| Texto, Folio 99 (recto), de un Libro Evangelio con Comentario | |
| t | 7fdEN4c1d43b9e7076-de-libre | libre |
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Text, folio 99 (recto), from a Gospel Book with Commentaries
| Text, folio 99 (recto), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 7fdEN4c1d43b9e7076-da-libre | libre |
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Text, folio 99 (recto), from a Gospel Book with Commentaries
| Tekst, folio 99 (recto), fra en evangeliebog med kommentarer | |
| t | 7fdEN5a695a24d96a3-es-libre | libre |
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lace, crochet: cotton
| encaje, ganchillo: algodón | |
| t | 7fdEN5a695a24d96a3-de-libre | libre |
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lace, crochet: cotton
| Spitzen, Häkeln: Baumwolle | |
| t | 7fdEN5a695a24d96a3-da-libre | libre |
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lace, crochet: cotton
| blonder og kniplinger, hæklet: bomuld | |
| t | 7fdEN5db70bcd91136-es-libre | libre |
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staghorn (two branches) with incised and painted geometric decoration; mounts missing
| estancamiento (dos ramas) con decoración geométrica incisa y pintada; montajes faltantes | |
| t | 7fdEN5db70bcd91136-de-libre | libre |
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staghorn (two branches) with incised and painted geometric decoration; mounts missing
| Hirschhorn (zwei Äste) mit gemalter geometrischer Dekoration; Halterungen fehlen | |
| t | 7f9EN1055f96d45117-es-libre | libre |
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pale greenish-white jade with brown markings
| jade blanco-verde pálido con marrones | |
| t | 7f8EN202b12c8d8320-de-libre | libre |
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How I Lost My Whiskers
| Wie Ich meine Whiskers verloren habe | |
| t | 804ENd197052f8dc9f-es-libre | libre |
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Egypt and Nubia: Volume I - Frontispiece, View under the Grand Portico, Philae
| Egipto y Nubia: Volumen I - Frontal, Vista bajo el Gran Pórtico, Philae | |
| t | 804ENd197052f8dc9f-da-libre | libre |
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Egypt and Nubia: Volume I - Frontispiece, View under the Grand Portico, Philae
| Egypten og Nubia: Bind I - Frontispiece, Udsigt under Grand Portico, Philae | |
| t | 7f9EN1055f96d45117-de-libre | libre |
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pale greenish-white jade with brown markings
| blasser grünlich-weißer Jade mit braunen Markierungen | |
| t | 7fdEN848c7710e19ac-de-libre | libre |
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Italy, Lombardy, Milan ?, first half of 15th century
| Italien, Lombardei, Mailand ?, erste Hälfte des 15. Jahrhunderts | |
| t | 7fdEN848c7710e19ac-da-libre | libre |
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Italy, Lombardy, Milan ?, first half of 15th century
| Italien, Lombardiet, Milano?, første halvdel af det 15. århundrede | |
| t | 7fdEN96fec2d9b75d2-es-libre | libre |
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A Princess and Demons before a Nobleman: A Leaf from a Poetical Romance Relating to Shah Alam I (recto)
| Una princesa y demonios ante un noble: una hoja de un romano poético relativo a Shah Alam I (recto) | |
| t | 7fdEN96fec2d9b75d2-de-libre | libre |
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A Princess and Demons before a Nobleman: A Leaf from a Poetical Romance Relating to Shah Alam I (recto)
| Eine Prinzessin und Dämonen vor einem Nobleman: Ein Blatt aus einer poetischen Romanze in Bezug auf Shah Alam I (recto) | |
| t | 7fdEN96fec2d9b75d2-da-libre | libre |
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A Princess and Demons before a Nobleman: A Leaf from a Poetical Romance Relating to Shah Alam I (recto)
| En prinsesse og dæmoner foran en Nobelmand: Et blad fra en poetisk romance vedrørende Shah Alam I (recto) | |
| t | 7fdENbe3decc95cc5d-es-libre | libre |
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Hills of Tulloch
| Colinas de Tulloch | |
| t | 7fdENbe3decc95cc5d-de-libre | libre |
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Hills of Tulloch
| Hügel von Tulloch | |
| i | 7fdENbe3decc95cc5d-da-libre | libre |
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Hills of Tulloch
| Hills of Tulloch | |
| t | 7fdENd058136aa401b-es-libre | libre |
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Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 21v
| Horas de la Reina Isabel la Católica, Reina de España: Fol. 21v | |
| t | 7fdENd058136aa401b-de-libre | libre |
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Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 21v
| Stunden der Königin Isabella der Katholik, Königin von Spanien: Fol. 21v | |
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Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 21v
| Timer af dronning Isabella den katolske, dronning af Spanien: Fol. 21v | |
| t | 7fdENd47b9e639f42d-es-libre | libre |
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Sketchbook, page 022: Notes
| Sketchbook, página 022: Notes | |
| t | 7fdENd47b9e639f42d-de-libre | libre |
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Sketchbook, page 022: Notes
| Sketchbook, Seite 022: Anmerkungen | |
| t | 7fdENd47b9e639f42d-da-libre | libre |
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Sketchbook, page 022: Notes
| Skitsebog, side 022: Bemærkninger | |
| t | 7fdENe383f47544472-es-libre | libre |
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Study of Orchids
| Estudio de las Orquídeas | |
| t | 7f9EN48c8f6a8decf7-da-libre | libre |
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Text, folio 367 (verso), from a Gospel Book with Commentaries
| Tekst, folio 367 (verso), fra en evangeliebog med kommentarer | |
| t | 7f8ENa8808529bfe4c-da-libre | libre |
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Hours of Charles the Noble, King of Navarre (1361-1425): fol. 292r, St. Fiacre
| Time of Charles the Noble, King of Navarre (1361- 1425): foll. 292r, St. Fiacre | |
| t | 7feEN075949d99efbf-es-libre | libre |
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Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 223v
| Horas de la Reina Isabel la Católica, Reina de España: Fol. 223v | |
| t | 7feEN075949d99efbf-de-libre | libre |
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Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 223v
| Stunden der Königin Isabella der Katholik, Königin von Spanien: Fol. 223v | |
| t | 7feEN075949d99efbf-da-libre | libre |
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Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 223v
| Timer af dronning Isabella den katolske, dronning af Spanien: Fol. 223v | |
| t | 7feEN12320d1479ede-es-libre | libre |
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Why Not? Once Does Not Constitute a Habit
| ¿Por qué no? Una vez no constituye un codo | |
| t | 7feEN12320d1479ede-de-libre | libre |
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Why Not? Once Does Not Constitute a Habit
| Warum nicht? Einmal Konstituiert nicht ein Habit | |
| t | 7feEN12320d1479ede-da-libre | libre |
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Why Not? Once Does Not Constitute a Habit
| Hvorfor ikke? Når ikke konstituere en Habit | |
| t | 7feEN1e70d1b5cb487-es-libre | libre |
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Portrait of a Child (Anton Peschka, Jr.)
| Retrato de un niño (Anton Peschka, Jr.) | |
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Portrait of a Child (Anton Peschka, Jr.)
| Porträt eines Kindes (Anton Peschka, Jr.) | |
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Portrait of a Child (Anton Peschka, Jr.)
| Portræt af et barn (Anton Peschka, Jr.) | |
| t | 7feEN23a81b7fbf856-es-libre | libre |
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Breton Peasant
| Peasant de bretón | |
| t | 7feEN23a81b7fbf856-de-libre | libre |
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Breton Peasant
| Bretonischer Bauern | |
| t | 7feEN23a81b7fbf856-da-libre | libre |
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Breton Peasant
| Bretonbønne | |
| t | 7feEN32231c2633ba7-es-libre | libre |
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Vessel with Two Lugs
| Mejillón con dos tazas | |
| t | 7feEN32231c2633ba7-de-libre | libre |
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Vessel with Two Lugs
| Schiff mit zwei Lugs | |
| t | 7fbEN4b72cf3861ba2-de-libre | libre |
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This folio is the first in the series. The composition is set in a geometrical palatial setting with four chambers. In one room, a man dressed in royal garb holds a scale in front of Madhava. A woman curiously observes the scene from the chamber above. In the middle, a priest sits reading a text, and a warrior occupies the space at the right, holding his shield.
| Dieser Folio ist der erste in der Serie. Die Komposition ist in einem geometrischen palastischen Rahmen mit vier Kammern gesetzt. In einem Raum hält ein Mann in königlichem Müll eine Skala vor Madhava. Eine Frau beobachtet neugierig die Szene aus der Kammer oben. In der Mitte sitzt ein Priester, der einen Text liest, und ein Krieger nimmt den Raum rechts und hält seinen Schild. | |
| t | 7f7ENbbf996cdb34d1-de-libre | libre |
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weft-faced compound twill; wool
| Wattgewebte zusammengesetzte Köper; Wolle | |
| t | 804ENfdfc62ed4ebc8-da-libre | libre |
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The Doctor
| Doktoren | |
| t | 804ENff10911a376c7-es-libre | libre |
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Martyrdom of St. John
| Martirio de San Juan | |
| t | 7fbEN63fd36ffcef21-es-libre | libre |
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Snuff Bottle with Floral Scrolls
| Botella Snuff con ranuras florales | |
| t | 7feEN470413b8349aa-es-libre | libre |
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Architecture Pittoresque ou Monuments des xveme. Et xvieme. Siecles: Chateaux De France des XV et XVI Siecles: Pl. 43, Maison Ancienne À Toulouse (Haute-Garonne)
| Arquitectura Pittoresque ou Monumentos des xveme. Et xvieme. Siecles: Chateaux De France des XV et XVI Siecles: Pl. 43, Maison Ancienne À Toulouse (Haute-Garonne) | |
| t | 7feEN470413b8349aa-de-libre | libre |
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Architecture Pittoresque ou Monuments des xveme. Et xvieme. Siecles: Chateaux De France des XV et XVI Siecles: Pl. 43, Maison Ancienne À Toulouse (Haute-Garonne)
| Architektur Pittoresque ou Denkmäler des xveme. Et xvieme. Siecles: Chateaux De France des XV et XVI Siecles: Pl. 43, Maison Ancienne À Toulouse (Haute-Garonne) | |
| t | 7feEN470413b8349aa-da-libre | libre |
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Architecture Pittoresque ou Monuments des xveme. Et xvieme. Siecles: Chateaux De France des XV et XVI Siecles: Pl. 43, Maison Ancienne À Toulouse (Haute-Garonne)
| Arkitektur Pittoresque ou Monuments des xveme. Et xvieme. Siecles: Chateaux De France des XV et XVI Siecles: Pl. 43, Maison Ancienne ç Toulouse (Haute- Garonne) | |
| t | 7feEN50204ade0d765-es-libre | libre |
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Giovanni Domenico Tiepolo, an important Venetian fresco painter of the 18th century, is best known today for his highly finished historical drawings that ingeniously incorporate details from daily life. This drawing, from a suite of more than 260 sheets known as the <em>Large Biblical Series</em>, depicts the Disrobing of Christ (the tenth Station of the Cross). A trio of patriarchs watch as Roman soldiers strip Jesus of his robe, a mob brews in the background, and over the lip of the hill, Roman soldiers trumpet the Crucifixion. The figure of Jesus, who glows with the stark white color of Domenico’s exposed paper, emerges simple and luminous from the chaos around him. His hammer-wielding executioner, emphasized with golden-brown wash, kneels before him—an ironic touch that implies the religious significance of Christ’s death. Domenico's signature technique, seen here, includes an underdrawing in black chalk or charcoal, contour lines drawn with a quill pen and brush, and modeling with a range of brown washes. His gestural, agitated lines evoke a strong sense of movement and emotional tension. The artist likely made the series for his own edification rather than for sale, as he kept the drawings during his lifetime and no prints were made.
| Giovanni Domenico Tiepolo, importante pintor de fresco veneciano del siglo XVIII, es conocido hoy por sus dibujos históricos altamente acabados que incorporan ingeniosamente detalles de la vida cotidiana. Este dibujo, de una suite de más de 260 hojas conocidas como <em>Serie Bíblica Grande</em>, representa la Destrucción de Cristo (la décima Estación de la Cruz). Un trío de patriarcas observan como soldados romanos despojan a Jesús de su manto, una turba en el fondo, y sobre el labio de la colina, los soldados romanos trompeta la crucifixión. La figura de Jesús, que brilla con el color blanco estrellado del papel expuesto de Domenico, emerge sencilla y luminosa del caos que le rodea. Su ejecutor de martillo, subrayado con lavado dorado, se arrodilla ante él, un toque irónico que implica el significado religioso de la muerte de Cristo. La técnica de firma de Domenico, vista aquí, incluye un subdrawing en tiza negra o carbón, líneas de contorno dibujadas con un lápiz de quill y un cepillo, y modelado con una gama de lavados marrones. Sus líneas gesturales y agitadas evocan un fuerte sentido del movimiento y la tensión emocional. El artista probablemente hizo la serie para su propia edificación en lugar de para la venta, ya que mantuvo los dibujos durante su vida y no se hicieron huellas. | |
| t | 7feEN50204ade0d765-de-libre | libre |
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Giovanni Domenico Tiepolo, an important Venetian fresco painter of the 18th century, is best known today for his highly finished historical drawings that ingeniously incorporate details from daily life. This drawing, from a suite of more than 260 sheets known as the <em>Large Biblical Series</em>, depicts the Disrobing of Christ (the tenth Station of the Cross). A trio of patriarchs watch as Roman soldiers strip Jesus of his robe, a mob brews in the background, and over the lip of the hill, Roman soldiers trumpet the Crucifixion. The figure of Jesus, who glows with the stark white color of Domenico’s exposed paper, emerges simple and luminous from the chaos around him. His hammer-wielding executioner, emphasized with golden-brown wash, kneels before him—an ironic touch that implies the religious significance of Christ’s death. Domenico's signature technique, seen here, includes an underdrawing in black chalk or charcoal, contour lines drawn with a quill pen and brush, and modeling with a range of brown washes. His gestural, agitated lines evoke a strong sense of movement and emotional tension. The artist likely made the series for his own edification rather than for sale, as he kept the drawings during his lifetime and no prints were made.
| Giovanni Domenico Tiepolo, ein wichtiger venezianischer Freskenmaler des 18. Jahrhunderts, ist heute bekannt für seine hochgradig fertigen historischen Zeichnungen, die genial Details aus dem Alltag integrieren. Diese Zeichnung, aus einer Suite von mehr als 260 Blatt bekannt als die <em>Große biblische Serie</em>, zeigt die Disrobing Christi (die zehnte Station des Kreuzes). Ein Trio der Patriarchen beobachten, wie römische Soldaten Jesus von seinem Gewand streifen, ein Mob braut im Hintergrund, und über die Lippe des Hügels, römische Soldaten Trompeten die Kreuzigung. Die Figur von Jesus, der mit der sternenweißen Farbe von Domenicos exponiertem Papier leuchtet, entsteht einfach und leuchtend aus dem Chaos um ihn herum. Sein hammerschweifender Henker, betont mit goldbraun-waschen, kniet vor ihm ironischen Touch, der die religiöse Bedeutung Christi Tod impliziert. Domenico's Signature-Technik, hier gesehen, beinhaltet eine Unterzeichnung in schwarzer Kreide oder Kohle, Konturlinien mit einem Stift und Pinsel gezeichnet, und Modellierung mit einer Reihe von braunen Waschungen. Seine gestischen, bewegten Linien evozieren ein starkes Gefühl von Bewegung und emotionaler Spannung. Der Künstler machte die Serie wahrscheinlich eher für seine eigene Erbauung als für den Verkauf, da er die Zeichnungen während seines Lebens hielt und keine Drucke gemacht wurden. | |
| t | 7feEN50204ade0d765-da-libre | libre |
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Giovanni Domenico Tiepolo, an important Venetian fresco painter of the 18th century, is best known today for his highly finished historical drawings that ingeniously incorporate details from daily life. This drawing, from a suite of more than 260 sheets known as the <em>Large Biblical Series</em>, depicts the Disrobing of Christ (the tenth Station of the Cross). A trio of patriarchs watch as Roman soldiers strip Jesus of his robe, a mob brews in the background, and over the lip of the hill, Roman soldiers trumpet the Crucifixion. The figure of Jesus, who glows with the stark white color of Domenico’s exposed paper, emerges simple and luminous from the chaos around him. His hammer-wielding executioner, emphasized with golden-brown wash, kneels before him—an ironic touch that implies the religious significance of Christ’s death. Domenico's signature technique, seen here, includes an underdrawing in black chalk or charcoal, contour lines drawn with a quill pen and brush, and modeling with a range of brown washes. His gestural, agitated lines evoke a strong sense of movement and emotional tension. The artist likely made the series for his own edification rather than for sale, as he kept the drawings during his lifetime and no prints were made.
| Giovanni Domenico Tiepolo, en vigtig venetiansk fresco maler af det 18. århundrede, er bedst kendt i dag for hans meget færdige historiske tegninger, der genialt indarbejde detaljer fra hverdagen. Denne tegning, fra en suite på mere end 260 ark kendt som <em>Stor bibelsk serie</em>, skildrer Kristi fordrivelse (Korsets tiende station). En trio af patriarker ur som romerske soldater strippe Jesus af hans kappe, en pøbel brygger i baggrunden, og over læben af bakken, romerske soldater tromme korsfæstelse. Figuren af Jesus, der lyser med den stærke hvide farve af Domenico 's eksponerede papir, viser sig enkel og lysende fra kaos omkring ham. Hans hamrende bøddel, understreget med golden- brun vask, knæler foran ham - et ironisk præg, der indebærer den religiøse betydning af Kristi død. Domenico signatur teknik, set her, omfatter en undertegning i sort kridt eller kul, kontur linjer trukket med en quill pen og børste, og modellering med en række brune vaske. Hans gestural, ophidsede linjer vækker en stærk følelse af bevægelse og følelsesmæssige spændinger. Kunstneren har sandsynligvis lavet serien til sin egen opbyggelse snarere end til salg, da han beholdt tegningerne i løbet af sin levetid, og der ikke blev lavet fingeraftryk. | |
| t | 7feEN523386ef93dda-es-libre | libre |
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pen and black ink (ruled in places) with traces of graphite, heightened with traces of white
| pluma y tinta negra (ruled in places) con trazas de grafito, agrandado con trazas de blanco | |
| t | 7feEN523386ef93dda-de-libre | libre |
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pen and black ink (ruled in places) with traces of graphite, heightened with traces of white
| Stift und schwarze Tinte (geregelt an Orten) mit Spuren von Graphit, erhöht mit Spuren von weiß | |
| t | 7feEN523386ef93dda-da-libre | libre |
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pen and black ink (ruled in places) with traces of graphite, heightened with traces of white
| pen og sort blæk (regerede på steder) med spor af grafit, forhøjet med spor af hvid | |
| t | 7feEN8796d58d00975-es-libre | libre |
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Text, folio 291 (recto), from a Gospel Book with Commentaries
| Texto, folio 291 (recto), de un libro del Evangelio con comentarios | |
| t | 7feEN8796d58d00975-de-libre | libre |
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Text, folio 291 (recto), from a Gospel Book with Commentaries
| Text, folio 291 (Recto), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 7feEN8796d58d00975-da-libre | libre |
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Text, folio 291 (recto), from a Gospel Book with Commentaries
| Tekst, folio 291 (recto), fra en evangeliebog med kommentarer | |
| t | 7feENabbd03307cfc4-es-libre | libre |
en->es
Leaf from a Qur'an
| Hoja de un Corán | |
| t | 7feENabbd03307cfc4-de-libre | libre |
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Leaf from a Qur'an
| Blatt aus einem Koran | |
| t | 7feENabbd03307cfc4-da-libre | libre |
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Leaf from a Qur'an
| Blad fra en Koran | |
| t | 7feENb020c59be428b-es-libre | libre |
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This allegory of injustice, popular with Renaissance artists for its moral content, is based on a written description of a lost painting by the ancient Greek artist Apelles. An enthroned judge with large ears is flanked by Suspicion and blindfolded Ignorance. He extends a hand to Calumny (Slander), who, helped by Envy, drags a young man by the hair into court. This youth protests his innocence to Truth and Time, who descend on a cloud to reveal Calumny’s lies and vindicate the accused. Deceit stands behind Calumny with a large net, while Repentance casts an apologetic glance toward Truth from beside the window.
| Esta alegoría de injusticia, popular entre los artistas renacentistas por su contenido moral, se basa en una descripción escrita de una pintura perdida por el antiguo artista griego Apelles. Un juez entronizado con grandes orejas está flanqueado por Suspicion y la ignorancia vendada. Extende una mano a Calumny (Slander), quien, ayudado por Envy, arrastra a un joven por el pelo a la corte. Este joven protesta por su inocencia a la Verdad y el Tiempo, que desciende sobre una nube para revelar las mentiras de Calumny y vindicar al acusado. El engaño está detrás de Calumny con una red grande, mientras que el arrepentimiento echa una mirada apologética hacia la Verdad desde al lado de la ventana. | |
| t | 7feENb020c59be428b-de-libre | libre |
en->de
This allegory of injustice, popular with Renaissance artists for its moral content, is based on a written description of a lost painting by the ancient Greek artist Apelles. An enthroned judge with large ears is flanked by Suspicion and blindfolded Ignorance. He extends a hand to Calumny (Slander), who, helped by Envy, drags a young man by the hair into court. This youth protests his innocence to Truth and Time, who descend on a cloud to reveal Calumny’s lies and vindicate the accused. Deceit stands behind Calumny with a large net, while Repentance casts an apologetic glance toward Truth from beside the window.
| Diese Allegorie der Ungerechtigkeit, populär bei Renaissance-Künstlern für ihren moralischen Inhalt, basiert auf einer schriftlichen Beschreibung eines verlorenen Gemäldes des alten griechischen Künstlers Apelles. Ein gethronter Richter mit großen Ohren wird von Suspion und Augenbinde Ignoranz flankiert. Er reicht eine Hand zu Calumny (Slander), der, unterstützt von Envy, zieht einen jungen Mann am Haar in den Hof. Diese Jugend protestiert gegen seine Unschuld gegen Wahrheit und Zeit, die auf eine Wolke herabsteigen, um Calumnys Lügen zu offenbaren und die Angeklagten zu weihen. Deceit steht hinter Calumny mit einem großen Netz, während Reue einen apologetischen Blick auf die Wahrheit aus dem Fenster wirft. | |
| t | 7feENb020c59be428b-da-libre | libre |
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This allegory of injustice, popular with Renaissance artists for its moral content, is based on a written description of a lost painting by the ancient Greek artist Apelles. An enthroned judge with large ears is flanked by Suspicion and blindfolded Ignorance. He extends a hand to Calumny (Slander), who, helped by Envy, drags a young man by the hair into court. This youth protests his innocence to Truth and Time, who descend on a cloud to reveal Calumny’s lies and vindicate the accused. Deceit stands behind Calumny with a large net, while Repentance casts an apologetic glance toward Truth from beside the window.
| Denne uretfærdighed, som er populær hos renæssancekunstnere for dens moralske indhold, er baseret på en skriftlig beskrivelse af et tabt maleri af den gamle græske kunstner Apelles. En stædig dommer med store ører flankeres af Suspicion og bind for øjnene. Han rækker en hånd til Calumny (Slander), der, hjulpet af Envy, trækker en ung mand ved håret i retten. Denne unge protesterer mod sin uskyld over for Sandhed og Tid, som stiger ned på en sky for at afsløre Calumnys løgne og forsvare de anklagede. Deceit står bag Calumny med et stort net, mens Omvendelse kaster et apologetisk blik mod sandheden fra siden af vinduet. | |
| t | 7feENc15336823abc4-es-libre | libre |
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Hardouin de Péréfixe de Beaumont
| Hardouin de Péréfixe de Beaumont | |
| i | 7feENc15336823abc4-de-libre | libre |
en->de
Hardouin de Péréfixe de Beaumont
| Hardouin de Péréfixe de Beaumont | |
| i | 7feENc15336823abc4-da-libre | libre |
en->da
Hardouin de Péréfixe de Beaumont
| Hardouin de Péréfixe de Beaumont | |
| t | 7feENf31f0f80f29b2-es-libre | libre |
en->es
View of the Acqua Acetosa (recto)
| Vista de la Acqua Acetosa (recto) | |
| t | 7feENf31f0f80f29b2-de-libre | libre |
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View of the Acqua Acetosa (recto)
| Blick auf die Acqua Acetyla (recto) | |
| i | 7feENf31f0f80f29b2-da-libre | libre |
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View of the Acqua Acetosa (recto)
| View of the Acqua Acetosa (recto) | |
| t | 7ffEN23d2c2f54e601-es-libre | libre |
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The woman wears the costume of, and personifies, the province of Alsace near the Franco-German border, where French photographer Adolphe Braun had his studio. The museum also owns Braun’s allegory of Lorraine (<em>Woman in Lorraine Dress, </em>1999.109). After France lost the Franco-Prussian war, it had to yield most of Alsace and one-quarter of Lorraine to Prussia (now Germany) in 1871. While allegorical, these images were also personal for Braun and many Frenchmen, and often seen together as a pair.
| La mujer lleva el traje y personifica la provincia de Alsacia cerca de la frontera franco-alemana, donde el fotógrafo francés Adolphe Braun tenía su estudio. El museo también posee la alegoría de Braun de Lorena (<em>Mujer en vestido de Lorena, </em>1999.109). Después de que Francia perdió la guerra franco-prusiana, tuvo que ceder la mayor parte de Alsacia y una cuarta parte de Lorena a Prusia (ahora Alemania) en 1871. Aunque alegoría, estas imágenes también eran personales para Braun y muchos franceses, y a menudo se veían juntos como un par. | |
| t | 7ffEN23d2c2f54e601-de-libre | libre |
en->de
The woman wears the costume of, and personifies, the province of Alsace near the Franco-German border, where French photographer Adolphe Braun had his studio. The museum also owns Braun’s allegory of Lorraine (<em>Woman in Lorraine Dress, </em>1999.109). After France lost the Franco-Prussian war, it had to yield most of Alsace and one-quarter of Lorraine to Prussia (now Germany) in 1871. While allegorical, these images were also personal for Braun and many Frenchmen, and often seen together as a pair.
| Die Frau trägt das Kostüm der Provinz Elsass nahe der deutsch-französischen Grenze, wo der französische Fotograf Adolphe Braun sein Atelier hatte. Das Museum besitzt auch Brauns Allegorie von Lorraine (<em>Frau in Lorraine Kleid, </em>1999,109). Nachdem Frankreich den deutsch-französischen Krieg verloren hatte, musste er 1871 den größten Teil des Elsass und ein Viertel Lorraine nach Preußen zurückbringen. Während allegorischen, diese Bilder waren auch persönlich für Braun und viele Franzosen, und oft zusammen als Paar gesehen. | |
| t | 7ffEN23d2c2f54e601-da-libre | libre |
en->da
The woman wears the costume of, and personifies, the province of Alsace near the Franco-German border, where French photographer Adolphe Braun had his studio. The museum also owns Braun’s allegory of Lorraine (<em>Woman in Lorraine Dress, </em>1999.109). After France lost the Franco-Prussian war, it had to yield most of Alsace and one-quarter of Lorraine to Prussia (now Germany) in 1871. While allegorical, these images were also personal for Braun and many Frenchmen, and often seen together as a pair.
| Kvinden bærer kostume af og personificerer provinsen Alsace nær den fransktyske grænse, hvor fransk fotograf Adolphe Braun havde sit atelier. Museet ejer også Brauns allegori af Lorraine (<em>Kvinde i Lorraine kjole, </em>1999, 109). Efter Frankrig mistede den franko-preussiske krig, det var nødt til at give det meste af Alsace og en fjerdedel af Lorraine til Preussen (nu Tyskland) i 1871. Mens allegoriske, disse billeder var også personlige for Braun og mange franskmænd, og ofte set sammen som et par. | |
| t | 7ffEN6cec7d83345c1-es-libre | libre |
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Ewers of this particular shape developed in Japan for use in Esoteric Buddhist communities, and are called fusatsu-shaped water pitchers. Unlike the ewers commonly used in rituals celebrated before the Buddha, this type is used for the purifying of monks’ hands with water at the start of a Dharma assembly focused on the recitation of the monastic code of conduct, and repentance for transgressions.
| Ewers of this particular shape developed in Japan for use in Esoteric Buddhist communities, and are called fusatsu- shape water pitchers. A diferencia de las ewers utilizadas comúnmente en rituales celebrados antes del Buda, este tipo se utiliza para la purificación de las manos de los monjes con agua al comienzo de una asamblea de Dharma centrada en la recitación del código monástico de conducta, y el arrepentimiento para transgresiones. | |
| t | 7ffEN6cec7d83345c1-de-libre | libre |
en->de
Ewers of this particular shape developed in Japan for use in Esoteric Buddhist communities, and are called fusatsu-shaped water pitchers. Unlike the ewers commonly used in rituals celebrated before the Buddha, this type is used for the purifying of monks’ hands with water at the start of a Dharma assembly focused on the recitation of the monastic code of conduct, and repentance for transgressions.
| Ewers dieser besonderen Form entwickelt in Japan für den Einsatz in Esoteric buddhistischen Gemeinschaften, und werden Fusatsu-förmigen Wasserkrug genannt. Im Gegensatz zu den Mutterschafern, die häufig in Ritualen vor dem Buddha gefeiert werden, wird diese Art für die Reinigung der Mönche mit Wasser zu Beginn einer Dharma-Montage verwendet, die sich auf die Rezitation des monastischen Verhaltenskodex und Reue für Übertretungen konzentrierte. | |
| t | 7ffEN6cec7d83345c1-da-libre | libre |
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Ewers of this particular shape developed in Japan for use in Esoteric Buddhist communities, and are called fusatsu-shaped water pitchers. Unlike the ewers commonly used in rituals celebrated before the Buddha, this type is used for the purifying of monks’ hands with water at the start of a Dharma assembly focused on the recitation of the monastic code of conduct, and repentance for transgressions.
| Ewers af denne særlige form udviklet i Japan til brug i Esoteriske buddhistiske samfund, og kaldes fusatsu- formede vandkande. I modsætning til de Ewers almindeligt anvendte i ritualer fejres før Buddha, denne type bruges til at rense munke hænder med vand i starten af en Dharma samling fokuseret på recitation af den monastiske adfærdskodeks, og omvendelse for overtrædelser. | |
| t | 7ffEN83c18b60786b5-es-libre | libre |
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Text, Folio 25 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra)
| Texto, Folio 25 (recto), de un Manuscrito de la Perfección de la Sabiduría en Ocho Mil Líneas (Ashtasahasrika Prajnaparamita-sutra) | |
| t | 7ffEN83c18b60786b5-de-libre | libre |
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Text, Folio 25 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra)
| Text, Folio 25 (recto), aus einer Handschrift der Vollkommenheit der Weisheit in achttausend Zeilen (Ashasahasrika Prajnaparamita-sutra) | |
| t | 7ffEN83c18b60786b5-da-libre | libre |
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Text, Folio 25 (recto), from a Manuscript of the Perfection of Wisdom in Eight Thousand Lines (Ashtasahasrika Prajnaparamita-sutra)
| Tekst, Folio 25 (recto), fra et manuskript af Perfection of Visdom in Eight Thousand Lines (Ashtasasrika Prajnaparamita- sutra) | |
| t | 7ffENbcbb07f739328-es-libre | libre |
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Figure from a Crèche: Youthful Magus
| Figura de un Crèche: Magus juvenil | |
| t | 7ffENbcbb07f739328-de-libre | libre |
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Figure from a Crèche: Youthful Magus
| Figur aus einer Crèche: Jugendlicher Magus | |
| t | 7ffENbcbb07f739328-da-libre | libre |
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Figure from a Crèche: Youthful Magus
| Figur fra en Crèche: Youth Magus | |
| t | 7ffENc3925a053c026-es-libre | libre |
en->es
Footed Platter
| Footed Platter | |
| t | 7ffENc3925a053c026-de-libre | libre |
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Footed Platter
| Fußplatte | |
| t | 7ffENc3925a053c026-da-libre | libre |
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Footed Platter
| Footed Patter | |
| t | 7ffENc528b80fe506b-es-libre | libre |
en->es
lacquer; metal hinges
| lacado; bisagras metálicas | |
| t | 7ffENc528b80fe506b-de-libre | libre |
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lacquer; metal hinges
| Lack; Metallscharniere | |
| t | 7ffENc528b80fe506b-da-libre | libre |
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lacquer; metal hinges
| Lakker; metalhængsler | |
| t | 7ffENd849a11f37aa2-es-libre | libre |
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These two pages are from a manuscript that evidently was written and illustrated for the library (at Herat) of the Timurid king Shah Rukh, the son of Timur (Tamerlane). The <em>Majma' al-Tawarikh </em>traced the history of the world, beginning with the prophets of the Old Testament until the reign of Shah Rukh.
| Estas dos páginas son de un manuscrito que evidentemente fue escrito e ilustrado para la biblioteca (en Herat) del rey Timurid Shah Rukh, el hijo de Timur (Tamerlane). El <em>Majma' al-Tawarikh </em>trazó la historia del mundo, comenzando con los profetas del Antiguo Testamento hasta el reinado de Shah Rukh. | |
| t | 7ffENd849a11f37aa2-de-libre | libre |
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These two pages are from a manuscript that evidently was written and illustrated for the library (at Herat) of the Timurid king Shah Rukh, the son of Timur (Tamerlane). The <em>Majma' al-Tawarikh </em>traced the history of the world, beginning with the prophets of the Old Testament until the reign of Shah Rukh.
| Diese beiden Seiten stammen aus einer Handschrift, die offenbar für die Bibliothek (in Herat) des Timuridenkönigs Shah Rukh, des Sohnes von Timur (Tamerlane) geschrieben und illustriert wurde. Das <em>Majma' al-Tawarikh </em>verfolgte die Geschichte der Welt, beginnend mit den Propheten des Alten Testaments bis zur Herrschaft von Shah Rukh. | |
| t | 7fbENca36fb7bf133c-de-libre | libre |
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The Ravisher portrays a chaotic struggle between a woman and Death, personified here as a wild-eyed corpse-like man. Having mistaken Death as her lover, she attempts to flee, but is thwarted by his firm grip. Images that feature Death often communicated moralizing messages about the dangers of sin and the fleeting nature of life. Had Dürer thought it necessary, he would have included an inscription in the scroll above. However, this could have been redundant since the horror of the scene clearly indicates that Death was exacting payment for the woman’s life of sin.
| Der Ravisher porträtiert einen chaotischen Kampf zwischen einer Frau und einem Tod, der hier als wildäugiger Leiche-ähnlicher Mann personifizierte. Nachdem sie den Tod als ihren Geliebten verwechselt hat, versucht sie zu fliehen, wird aber von seinem festen Griff vereitelt. Bilder, die den Tod kennzeichnen, kommunizierten oft moralisierende Botschaften über die Gefahren der Sünde und die flüchtige Natur des Lebens. Hätte Dürer es für notwendig gehalten, hätte er eine Inschrift in die obige Schriftrolle aufgenommen. Dies könnte jedoch überflüssig gewesen sein, da der Schrecken der Szene deutlich zeigt, dass der Tod anspruchsvoll Zahlung für die Frau der Sünde Leben. | |
| t | 7fdEN2fe093a17263a-es-libre | libre |
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black ink, black wash, black paint [?], and purple watercolor
| tinta negra, lavado negro, pintura negra [?], y acuarela púrpura | |
| t | 7ffENd849a11f37aa2-da-libre | libre |
en->da
These two pages are from a manuscript that evidently was written and illustrated for the library (at Herat) of the Timurid king Shah Rukh, the son of Timur (Tamerlane). The <em>Majma' al-Tawarikh </em>traced the history of the world, beginning with the prophets of the Old Testament until the reign of Shah Rukh.
| Disse to sider er fra et manuskript, der tydeligvis blev skrevet og illustreret for biblioteket (på Herat) af Timurid kong Shah Rukh, søn af Timur (Tamerlane). EU <em>Majma 'al- Tawarikh </em>sporede verdenshistorien, begyndende med profeterne i Det Gamle Testamente indtil Shah Rukhs regeringstid. | |
| t | 7ffENe76f8ff74fde0-es-libre | libre |
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The Pilot
| El Piloto | |
| t | 7ffENe76f8ff74fde0-de-libre | libre |
en->de
The Pilot
| Der Pilot | |
| t | 7ffENe76f8ff74fde0-da-libre | libre |
en->da
The Pilot
| Piloten | |
| t | 800EN17f5d10c49563-es-libre | libre |
en->es
Although five-stringed melodic harps with anthropomorphic decorations are found among different peoples in northern Congo, the elongated skull of this work is characteristic of the Mangbetu. Such instruments commonly served to accompany songs by either male or female musicians. Cleveland artist Paul Travis acquired this work and some others during his travels in Central Africa in 1928.
| Aunque se encuentran arpas melódicas de cinco cuerdas con decoraciones antropomorfas entre diferentes pueblos del norte del Congo, el cráneo alargado de esta obra es característico del Mangbetu. Estos instrumentos se sirven comúnmente para acompañar canciones de músicos masculinos o femeninos. El artista de Cleveland Paul Travis adquirió este trabajo y algunos otros durante sus viajes en África Central en 1928. | |
| t | e20ENa6328a0f83cf6-da-libre | libre |
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Europe
| Europa | |
| t | 800EN17f5d10c49563-de-libre | libre |
en->de
Although five-stringed melodic harps with anthropomorphic decorations are found among different peoples in northern Congo, the elongated skull of this work is characteristic of the Mangbetu. Such instruments commonly served to accompany songs by either male or female musicians. Cleveland artist Paul Travis acquired this work and some others during his travels in Central Africa in 1928.
| Obwohl fünfstringige melodische Harfen mit anthropomorphen Dekorationen unter verschiedenen Völkern im Nordkongo zu finden sind, ist der längliche Schädel dieser Arbeit charakteristisch für die Mangbetu. Solche Instrumente dienen häufig dazu, Lieder von männlichen oder weiblichen Musikern zu begleiten. Cleveland Künstler Paul Travis erwarb dieses Werk und einige andere während seiner Reisen in Zentralafrika im Jahre 1928. | |
| t | 800EN17f5d10c49563-da-libre | libre |
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Although five-stringed melodic harps with anthropomorphic decorations are found among different peoples in northern Congo, the elongated skull of this work is characteristic of the Mangbetu. Such instruments commonly served to accompany songs by either male or female musicians. Cleveland artist Paul Travis acquired this work and some others during his travels in Central Africa in 1928.
| Selv om fem-stringed melodiske harper med antropmorfe dekorationer findes blandt forskellige folk i det nordlige Congo, den aflange kranium af dette arbejde er karakteristisk for Mangbetu. Sådanne instrumenter normalt tjent til at ledsage sange af enten mandlige eller kvindelige musikere. Cleveland kunstner Paul Travis erhvervet dette arbejde og nogle andre under hans rejser i Centralafrika i 1928. | |
| t | 800EN18be571039997-es-libre | libre |
en->es
France, Lyons, Louis 15th style, early 20th century
| Francia, Lyons, Luis XV, principios del siglo XX | |
| t | 800EN18be571039997-de-libre | libre |
en->de
France, Lyons, Louis 15th style, early 20th century
| Frankreich, Lyons, Louis 15. Stil, Anfang 20. Jahrhundert | |
| t | 800EN18be571039997-da-libre | libre |
en->da
France, Lyons, Louis 15th style, early 20th century
| Frankrig, Lyon, Louis 15. stil, begyndelsen af det 20. århundrede | |
| t | 800EN1adbdd1e746e6-es-libre | libre |
en->es
Book of Hours (Use of Rouen): fol. 71r
| Libro de Horas (Uso de Rouen): fol. 71r | |
| t | 800EN1adbdd1e746e6-de-libre | libre |
en->de
Book of Hours (Use of Rouen): fol. 71r
| Stundenbuch (Nutzung von Rouen): fol. 71r | |
| t | 800EN1adbdd1e746e6-da-libre | libre |
en->da
Book of Hours (Use of Rouen): fol. 71r
| Timebog (brug af Rouen): jfr. nedenfor | |
| t | 800EN5d5d4842a4f27-es-libre | libre |
en->es
wood, inlaid pigments
| madera, pigmentos incrustados | |
| t | 800EN5d5d4842a4f27-de-libre | libre |
en->de
wood, inlaid pigments
| Holz, eingelegte Pigmente | |
| t | 800EN5d5d4842a4f27-da-libre | libre |
en->da
wood, inlaid pigments
| træ, indlagte pigmenter | |
| t | 800EN6f3562d88ff3f-es-libre | libre |
en->es
Playing Flute in Moonlight
| Jugar fluido en luz de la luna | |
| t | 800EN6f3562d88ff3f-de-libre | libre |
en->de
Playing Flute in Moonlight
| Flöte im Mondlicht spielen | |
| t | 800EN6f3562d88ff3f-da-libre | libre |
en->da
Playing Flute in Moonlight
| Spille fløjte i månelys | |
| t | 800EN9caca266c5e04-es-libre | libre |
en->es
Germany, Cologne, 15th century
| Alemania, Colonia, siglo XV | |
| t | 800EN9caca266c5e04-de-libre | libre |
en->de
Germany, Cologne, 15th century
| Deutschland, Köln, 15. Jahrhundert | |
| t | 800EN9caca266c5e04-da-libre | libre |
en->da
Germany, Cologne, 15th century
| Tyskland, Köln, 15. århundrede | |
| t | 800ENae3588598d480-es-libre | libre |
en->es
pearls, diamonds, jade, rock crystal, silver, gold
| perlas, diamantes, jade, cristal de roca, plata, oro | |
| t | 800ENae3588598d480-de-libre | libre |
en->de
pearls, diamonds, jade, rock crystal, silver, gold
| Perlen, Diamanten, Jade, Felskristall, Silber, Gold | |
| t | 800ENae3588598d480-da-libre | libre |
en->da
pearls, diamonds, jade, rock crystal, silver, gold
| perler, diamanter, jade, klippekrystal, sølv, guld | |
| t | 800ENb0359bc56b2cb-es-libre | libre |
en->es
Album with Views of Rome and Surroundings, Landscape Studies, page 05a: "Saint Isidoro"
| Álbum con Vistas de Roma y Alrededores, Estudios Paisajísticos, página 05a: "San Isidoro" | |
| t | 800ENb0359bc56b2cb-de-libre | libre |
en->de
Album with Views of Rome and Surroundings, Landscape Studies, page 05a: "Saint Isidoro"
| Album mit Ansichten von Rom und Umgebung, Landschaftsforschung, Seite 05a: "Saint Isidoro" | |
| t | 800ENb0359bc56b2cb-da-libre | libre |
en->da
Album with Views of Rome and Surroundings, Landscape Studies, page 05a: "Saint Isidoro"
| Album med udsigt over Rom og Oversvømmelser, Landskabsstudier, side 05a: "Saint Isidoro" | |
| t | 800ENb9f85751a0202-es-libre | libre |
en->es
Porcelain with molded and carved design, green glaze, and black lacquered lid
| Porcelana con diseño moldeado y tallado, esmalte verde y tapa lacada negra | |
| t | 800ENb9f85751a0202-de-libre | libre |
en->de
Porcelain with molded and carved design, green glaze, and black lacquered lid
| Porzellan mit geformtem und geschnitztem Design, grüner Glasur und schwarzem lackiertem Deckel | |
| t | 800ENb9f85751a0202-da-libre | libre |
en->da
Porcelain with molded and carved design, green glaze, and black lacquered lid
| Porcelæn med støbt og skåret design, grøn glasur, og sort lakeret låg | |
| t | 800ENcee8010f52b60-es-libre | libre |
en->es
The River
| El río | |
| t | 800ENcee8010f52b60-de-libre | libre |
en->de
The River
| Der Fluss | |
| i | 800ENcee8010f52b60-da-libre | libre |
en->da
The River
| The River | |
| t | 800ENf3557a55097d0-es-libre | libre |
en->es
Bobbin (Point Plat Appliqué) and Machine Lace Black Veil
| Bobbin (Point Plat Appliqué) y la máquina de encaje Negro Veil | |
| t | 800ENf3557a55097d0-de-libre | libre |
en->de
Bobbin (Point Plat Appliqué) and Machine Lace Black Veil
| Bobbin (Point Plat Appliqué) und Machine Lace Black Veil | |
| t | 800ENf3557a55097d0-da-libre | libre |
en->da
Bobbin (Point Plat Appliqué) and Machine Lace Black Veil
| Bobbin (punkt Plat Appliqué) og Machine Lace Black Veil | |
| t | 800ENf4b048c79cc9a-es-libre | libre |
en->es
Suite de Paysages: Landscape, Plate 6, Remarque, Lilies
| Suite de Paysages: Paisaje, Placa 6, Remarque, Lilies | |
| t | 800ENf4b048c79cc9a-de-libre | libre |
en->de
Suite de Paysages: Landscape, Plate 6, Remarque, Lilies
| Suite de Paysages: Landschaft, Plate 6, Remarque, Lilien | |
| t | 800ENf4b048c79cc9a-da-libre | libre |
en->da
Suite de Paysages: Landscape, Plate 6, Remarque, Lilies
| Suite de Paysages: Landskab, Platte 6, Remarque, Liljer | |
| t | 801EN1416d7a89d0af-es-libre | libre |
en->es
China, Zhejiang province, Southern Song dynasty (1127-1279)
| China, provincia de Zhejiang, dinastía de la Canción del Sur (1127-1279) | |
| t | 801EN1416d7a89d0af-de-libre | libre |
en->de
China, Zhejiang province, Southern Song dynasty (1127-1279)
| China, Provinz Zhejiang, Südliche Song-Dynastie (1127-1279) | |
| t | 801EN1416d7a89d0af-da-libre | libre |
en->da
China, Zhejiang province, Southern Song dynasty (1127-1279)
| Kina, provinsen Zhejiang, det sydlige Song-dynasti (1127- 1279) | |
| t | 801EN2b02ccd4f34e1-es-libre | libre |
en->es
India, Mughal, 17th century
| India, Mughal, siglo XVII | |
| t | 801EN2b02ccd4f34e1-de-libre | libre |
en->de
India, Mughal, 17th century
| Indien, Mogul, 17. Jahrhundert | |
| t | 801EN2b02ccd4f34e1-da-libre | libre |
en->da
India, Mughal, 17th century
| Indien, Mughal, 17. århundrede | |
| t | 801EN4ccf92021680b-es-libre | libre |
en->es
pen and black ink and white gouache with bronze metallic paint on white wove paper
| pluma y tinta negra y gouache blanco con pintura metálica de bronce en papel de tejido blanco | |
| t | 801EN4ccf92021680b-de-libre | libre |
en->de
pen and black ink and white gouache with bronze metallic paint on white wove paper
| Stift und schwarze Tinte und weiße Gouache mit Bronze Metallic Farbe auf weißem Wave Papier | |
| t | 801EN4ccf92021680b-da-libre | libre |
en->da
pen and black ink and white gouache with bronze metallic paint on white wove paper
| pen og sort blæk og hvid gouache med bronze metalmaling på hvid uld papir | |
| t | 801EN5dc02b290d280-es-libre | libre |
en->es
Gu-shaped Vase
| Vase en forma de Gu | |
| t | 801EN5dc02b290d280-de-libre | libre |
en->de
Gu-shaped Vase
| Gu-förmige Vase | |
| t | 801EN5dc02b290d280-da-libre | libre |
en->da
Gu-shaped Vase
| Gu- formet vase | |
| t | 801EN6ad200f023248-es-libre | libre |
en->es
Northern Greece, Macedonian, Geometric period (900-700 BCE)
| Northern Greece, Macedonian, Geometric period (900-700 BCE) | |
| t | 801EN6ad200f023248-de-libre | libre |
en->de
Northern Greece, Macedonian, Geometric period (900-700 BCE)
| Nordgriechenland, Mazedonien, Geometrische Periode (900-700 BCE) | |
| t | 801EN6ad200f023248-da-libre | libre |
en->da
Northern Greece, Macedonian, Geometric period (900-700 BCE)
| Northern Greece, Macedonian, Geometric period (900- 700 fCE) | |
| t | 802EN835498513d833-es-libre | libre |
en->es
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 234v
| Horas de la Reina Isabel la Católica, Reina de España: Fol. 234v | |
| t | 802EN835498513d833-de-libre | libre |
en->de
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 234v
| Stunden der Königin Isabella der Katholik, Königin von Spanien: Fol. 234v | |
| t | 803EN297e9d54a04e0-de-libre | libre |
en->de
Book of Hours (Use of Rouen): fol. 24r
| Stundenbuch (Nutzung von Rouen): fol. 24r | |
| t | 801EN7615215d38fbe-es-libre | libre |
en->es
This headpiece (<em>nlo-o-ngo</em>) was made to look like a similarly shaped hairstyle. While the coiffure gained height from inserts tucked under the hair, here the underlying basket was woven into a central ridge. Plant fibers were woven or braided to mimic hairstyling techniques. Rarely removed, the hat gave the appearance of elaborately styled and decorated hair. Three rows of cowries around the band evoke a shell or bead headband, while the metal furniture tacks are the same as would have been inserted into the hair. Existing in many styles, men or women wore these wiglike headdresses to signify status, group identity, or social roles.
| Este cabezal (<em>nlo-o-ngo</em>) fue hecho para parecer un peinado de forma similar. Mientras que el coiffure ganó la altura de las inserciones atornilladas bajo el pelo, aquí la cesta subyacente fue tejido en una cresta central. Las fibras vegetales fueron tejidas o trenzadas a técnicas de peinado imitador. Raramente removido, el sombrero dio la apariencia de pelo elaborado y decorado. Tres hileras de vacas alrededor de la banda evocan una cáscara o una banda de cuentas, mientras que los muebles de metal son los mismos que se habrían insertado en el cabello. Existiendo en muchos estilos, hombres o mujeres llevaban estos tocados peludos para significar estatus, identidad grupal o roles sociales. | |
| t | 801EN7615215d38fbe-de-libre | libre |
en->de
This headpiece (<em>nlo-o-ngo</em>) was made to look like a similarly shaped hairstyle. While the coiffure gained height from inserts tucked under the hair, here the underlying basket was woven into a central ridge. Plant fibers were woven or braided to mimic hairstyling techniques. Rarely removed, the hat gave the appearance of elaborately styled and decorated hair. Three rows of cowries around the band evoke a shell or bead headband, while the metal furniture tacks are the same as would have been inserted into the hair. Existing in many styles, men or women wore these wiglike headdresses to signify status, group identity, or social roles.
| Dieses Kopfteil (<em>nlo-o-ngo</em>== Weblinks ==== Einzelnachweise == Während die Coiffure Höhe von Einsätzen gewann, die unter den Haaren versteckt wurden, wurde hier der zugrunde liegende Korb in einen zentralen Grat gewoben. Pflanzenfasern wurden gewoben oder geflochten, um Haarstyling Techniken imitieren. Selten entfernt, gab der Hut das Aussehen von aufwendig gestalteten und dekorierten Haaren. Drei Reihen von Cowries rund um die Band evozieren eine Schale oder Perlen Kopfband, während die Metallmöbel-Tacks sind die gleichen, wie wäre in die Haare eingefügt worden. Bestehend in vielen Stilen, Männer oder Frauen trugen diese Perücken Kopfschmuck, um Status, Gruppenidentität oder soziale Rollen zu bedeuten. | |
| t | 801EN7615215d38fbe-da-libre | libre |
en->da
This headpiece (<em>nlo-o-ngo</em>) was made to look like a similarly shaped hairstyle. While the coiffure gained height from inserts tucked under the hair, here the underlying basket was woven into a central ridge. Plant fibers were woven or braided to mimic hairstyling techniques. Rarely removed, the hat gave the appearance of elaborately styled and decorated hair. Three rows of cowries around the band evoke a shell or bead headband, while the metal furniture tacks are the same as would have been inserted into the hair. Existing in many styles, men or women wore these wiglike headdresses to signify status, group identity, or social roles.
| Dette hovedstykke (<em>nlo-o-ngo</em>) blev lavet til at ligne en lignende formet frisure. Mens pengekurven steg højde fra indsatser gemt under håret, her den underliggende kurv blev vævet ind i en central højderyg. Plantefibre blev vævet eller flettet til at efterligne frisurer teknikker. Sjældent fjernet, hatten gav udseendet af grundigt stylet og dekoreret hår. Tre rækker af cowries omkring bandet fremmaner en skal eller perle pandebånd, mens metal møbler sticks er de samme som ville have været indsat i håret. Eksisterende i mange stilarter, mænd eller kvinder bar disse wiglike headdoes at betyde status, gruppe identitet, eller sociale roller. | |
| t | 801EN7e619ebd7a992-es-libre | libre |
en->es
Wood and iron
| Madera y hierro | |
| t | 801EN7e619ebd7a992-de-libre | libre |
en->de
Wood and iron
| Holz und Eisen | |
| t | 801EN7e619ebd7a992-da-libre | libre |
en->da
Wood and iron
| Træ og jern | |
| t | 801EN80b7acde62394-es-libre | libre |
en->es
electrum (gold-silver alloy)
| electrum (aleación de oro-plata) | |
| t | 801EN80b7acde62394-de-libre | libre |
en->de
electrum (gold-silver alloy)
| Elektrum (Goldsilberlegierung) | |
| t | 801EN80b7acde62394-da-libre | libre |
en->da
electrum (gold-silver alloy)
| Elektrum (guldsølvlegeringer) | |
| t | 801ENb2b9fb20e55a7-es-libre | libre |
en->es
Radha and Krishna Seated on a Balcony
| Radha y Krishna sentados en un balcón | |
| t | 801ENb2b9fb20e55a7-de-libre | libre |
en->de
Radha and Krishna Seated on a Balcony
| Radha und Krishna sitzen auf einem Balkon | |
| t | 801ENb2b9fb20e55a7-da-libre | libre |
en->da
Radha and Krishna Seated on a Balcony
| Radha og Krishna sidder på balkon | |
| t | 801ENc5d4bf85bdb18-es-libre | libre |
en->es
Roundel with the Annunciation
| Roundel con la Anunciación | |
| t | 801ENc5d4bf85bdb18-de-libre | libre |
en->de
Roundel with the Annunciation
| Roundel mit der Verkündigung | |
| t | 801ENc5d4bf85bdb18-da-libre | libre |
en->da
Roundel with the Annunciation
| Roundel med meddelelsen | |
| t | 801ENc978d4f77fe3a-es-libre | libre |
en->es
Fragments of a Caftan
| Fragmentos de un Caftan | |
| t | 801ENc978d4f77fe3a-de-libre | libre |
en->de
Fragments of a Caftan
| Fragmente eines Caftan | |
| t | 801ENc978d4f77fe3a-da-libre | libre |
en->da
Fragments of a Caftan
| Fragmenter af en caftan | |
| t | 801ENf6a45493ba6ee-es-libre | libre |
en->es
Needlepoint Lace (Argentan Lace) Collar
| El encaje de aguja (caza argentina) Collar | |
| t | 801ENf6a45493ba6ee-de-libre | libre |
en->de
Needlepoint Lace (Argentan Lace) Collar
| Nadelspitze (Argentan Lace) Hals | |
| t | 801ENf6a45493ba6ee-da-libre | libre |
en->da
Needlepoint Lace (Argentan Lace) Collar
| Nålespids Lace (Argentan Lace) Collar | |
| t | 802EN4c8603c57e697-es-libre | libre |
en->es
Feline-Handled Incense Burner
| Feline-Handled Incense Burner | |
| t | 802EN4c8603c57e697-de-libre | libre |
en->de
Feline-Handled Incense Burner
| Feline-Handled Räucherstäbchen | |
| t | 802EN4c8603c57e697-da-libre | libre |
en->da
Feline-Handled Incense Burner
| Feline- Håndteret Incense Burner | |
| t | 802EN5daa032a8adcf-es-libre | libre |
en->es
India, Mughal, 18th century
| India, Mughal, siglo XVIII | |
| t | 802EN5daa032a8adcf-de-libre | libre |
en->de
India, Mughal, 18th century
| Indien, Mogul, 18. Jahrhundert | |
| t | 802EN5daa032a8adcf-da-libre | libre |
en->da
India, Mughal, 18th century
| Indien, Mughal, 18. århundrede | |
| t | 802EN6390eb8dfe3ab-es-libre | libre |
en->es
Text, folio 197 (recto), from a Gospel Book with Commentaries
| Texto, folio 197 (recto), de un libro del Evangelio con comentarios | |
| t | 802EN6390eb8dfe3ab-de-libre | libre |
en->de
Text, folio 197 (recto), from a Gospel Book with Commentaries
| Text, folio 197 (Recto), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 802EN6390eb8dfe3ab-da-libre | libre |
en->da
Text, folio 197 (recto), from a Gospel Book with Commentaries
| Tekst, folio 197 (recto), fra en evangeliebog med kommentarer | |
| t | 7fdEN0951014453b8a-de-libre | libre |
en->de
Wild Rose
| Wildrose | |
| t | 7faEN520a3bcc5e991-da-libre | libre |
en->da
Peru, 20th century
| Peru, det 20. århundrede | |
| t | 802EN776ac016b7a5f-es-libre | libre |
en->es
In 1810, Gros exhibited a massive painting of Napoleon at the 1798 Battle of the Pyramids, one of the rare French triumphs in the failed campaign to conquer Egypt (1789-1801). After Napoleon first fell from power in 1814, the painting went into storage, until the new king Louis-Philippe chose to resurrect it for a history museum in Paris. However, perhaps to diminish Napoleon's significance, the government asked Gros to amplify the original with an addition at each end. This painting incorporates General Kléber, a famously successful military leader who had been excluded from the original painting.
| En 1810, Gros exhibió una pintura masiva de Napoleón en la batalla de las pirámides de 1798, uno de los raros triunfos franceses en la fracasada campaña para conquistar Egipto (1789-1801). Después de que Napoleón cayó por primera vez del poder en 1814, la pintura fue almacenada, hasta que el nuevo rey Luis Felipe decidió resucitarla para un museo de historia en París. Sin embargo, quizás para disminuir el significado de Napoleón, el gobierno pidió a Gros que amplificara el original con una adición en cada extremo. Esta pintura incorpora al General Kléber, un famoso líder militar exitoso que había sido excluido de la pintura original. | |
| t | 802EN776ac016b7a5f-de-libre | libre |
en->de
In 1810, Gros exhibited a massive painting of Napoleon at the 1798 Battle of the Pyramids, one of the rare French triumphs in the failed campaign to conquer Egypt (1789-1801). After Napoleon first fell from power in 1814, the painting went into storage, until the new king Louis-Philippe chose to resurrect it for a history museum in Paris. However, perhaps to diminish Napoleon's significance, the government asked Gros to amplify the original with an addition at each end. This painting incorporates General Kléber, a famously successful military leader who had been excluded from the original painting.
| Im Jahr 1810 zeigte Gros ein massives Gemälde von Napoleon bei der Schlacht der Pyramiden 1798, einer der seltenen französischen Triumphe in der gescheiterten Kampagne, Ägypten zu erobern (1789-1801). Nachdem Napoleon 1814 von der Macht gefallen war, wurde das Gemälde gelagert, bis der neue König Louis-Philippe es für ein Geschichtsmuseum in Paris wieder auferstehen ließ. Um jedoch die Bedeutung Napoleons zu verringern, bat die Regierung Gros, das Original mit einer Ergänzung an jedem Ende zu verstärken. Dieses Gemälde umfasst General Kléber, einen berühmten erfolgreichen militärischen Führer, der vom Originalgemälde ausgeschlossen war. | |
| t | 802EN776ac016b7a5f-da-libre | libre |
en->da
In 1810, Gros exhibited a massive painting of Napoleon at the 1798 Battle of the Pyramids, one of the rare French triumphs in the failed campaign to conquer Egypt (1789-1801). After Napoleon first fell from power in 1814, the painting went into storage, until the new king Louis-Philippe chose to resurrect it for a history museum in Paris. However, perhaps to diminish Napoleon's significance, the government asked Gros to amplify the original with an addition at each end. This painting incorporates General Kléber, a famously successful military leader who had been excluded from the original painting.
| I 1810 udstillede Gros et massivt maleri af Napoleon på 1798 Slaget ved pyramiderne, en af de sjældne franske triumfer i den mislykkede kampagne for at erobre Egypten (1789- 1801). Efter Napoleon først faldt fra magten i 1814, maleriet gik i lager, indtil den nye konge Louis-Philippe valgte at genoplive det til en historie museum i Paris. Men måske at mindske Napoleon 's betydning, regeringen bad Gros at forstærke originalen med en tilføjelse i hver ende. Dette maleri indeholder general Kléber, en berømt succesfuld militær leder, der var blevet udelukket fra det oprindelige maleri. | |
| t | 803EN297e9d54a04e0-es-libre | libre |
en->es
Book of Hours (Use of Rouen): fol. 24r
| Libro de Horas (Uso de Rouen): fol. 24r | |
| t | 802EN835498513d833-da-libre | libre |
en->da
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 234v
| Timer af dronning Isabella den katolske, dronning af Spanien: Fol. 234v | |
| t | 802EN8bee4162e6962-es-libre | libre |
en->es
Interior of a Peasant's House, Valley of Bethmale, France
| Interior de la Casa Campesina, Valle de Bethmale, Francia | |
| t | 802EN8bee4162e6962-de-libre | libre |
en->de
Interior of a Peasant's House, Valley of Bethmale, France
| Innenraum eines Bauernhauses, Tal von Bethmale, Frankreich | |
| t | 802EN8bee4162e6962-da-libre | libre |
en->da
Interior of a Peasant's House, Valley of Bethmale, France
| Indendørs for et bondehus, Valley of Bethman, Frankrig | |
| t | 802EN91d805d3b1898-es-libre | libre |
en->es
The Avenue
| La Avenida | |
| t | 802EN91d805d3b1898-de-libre | libre |
en->de
The Avenue
| Die Avenue | |
| i | 802EN91d805d3b1898-da-libre | libre |
en->da
The Avenue
| The Avenue | |
| t | 802ENc1b6936652e44-es-libre | libre |
en->es
Bowl with Orchids
| Tazón con orquídeas | |
| t | 802ENc1b6936652e44-de-libre | libre |
en->de
Bowl with Orchids
| Schale mit Orchideen | |
| t | 802ENc1b6936652e44-da-libre | libre |
en->da
Bowl with Orchids
| Bowl med orkider | |
| t | 802ENc36e8cf486250-es-libre | libre |
en->es
The third scene in the series depicts one of the final events of the pope’s stay. At the back of the magnificent audience hall of Santi Giovanni e Paolo, the doge (in gold and white) approaches the throne to receive his papal blessing, with a line of red-robed senators in his wake.
| La tercera escena de la serie representa uno de los eventos finales de la estancia del Papa. En la parte posterior de la magnífica sala de audiencias de Santi Giovanni e Paolo, el doge (en oro y blanco) se acerca al trono para recibir su bendición papal, con una línea de senadores rojizos en su velada. | |
| t | 802ENc36e8cf486250-de-libre | libre |
en->de
The third scene in the series depicts one of the final events of the pope’s stay. At the back of the magnificent audience hall of Santi Giovanni e Paolo, the doge (in gold and white) approaches the throne to receive his papal blessing, with a line of red-robed senators in his wake.
| Die dritte Szene in der Serie zeigt eines der letzten Ereignisse des Papstes. Auf der Rückseite des prächtigen Publikumssaals von Santi Giovanni e Paolo nähert sich die Doge (in Gold und Weiß) dem Thron, um seinen päpstlichen Segen zu empfangen, mit einer Linie von rot-robed Senatoren in seinem Gefolge. | |
| t | 802ENc36e8cf486250-da-libre | libre |
en->da
The third scene in the series depicts one of the final events of the pope’s stay. At the back of the magnificent audience hall of Santi Giovanni e Paolo, the doge (in gold and white) approaches the throne to receive his papal blessing, with a line of red-robed senators in his wake.
| Den tredje scene i serien viser en af de sidste begivenheder af pavens ophold. På bagsiden af den storslåede audienshal Santi Giovanni e Paolo nærmer dugen (i guld og hvid) sig tronen for at modtage sin pavelige velsignelse, med en linje af rødrobede senatorer i hans kølvand. | |
| t | 802ENc72a99f9f2169-es-libre | libre |
en->es
The Apocalypse: Babylon the Harlot, Seated on the Seven-headed Beast
| El Apocalipsis: Babilonia el Harlot, sentado en la Bestia de Siete Cabezas | |
| t | 802ENc72a99f9f2169-de-libre | libre |
en->de
The Apocalypse: Babylon the Harlot, Seated on the Seven-headed Beast
| Die Apokalypse: Babylon der Harlot, auf dem siebenköpfigen Tier sitzend | |
| t | 802ENc72a99f9f2169-da-libre | libre |
en->da
The Apocalypse: Babylon the Harlot, Seated on the Seven-headed Beast
| The Apocalypse: Babylon the Harlot, Seated on the Sevent- headed Beast | |
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This small vessel was likely made as a teapot for the European export market. The different colored overglaze enamels, orange, blue, green, and yellow, combine with a wiry black outline to form the design of a singing bird on a flowering bough repeated on each side of the pot.
| Es probable que esta pequeña embarcación sea una tetera para el mercado europeo de exportación. Los diferentes esmaltes de sobreglaze de colores, naranja, azul, verde y amarillo, se combinan con un contorno negro peludo para formar el diseño de un pájaro de canto en una rama de floración repetida en cada lado de la olla. | |
| t | 802ENf45fc2d8a2fc9-de-libre | libre |
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This small vessel was likely made as a teapot for the European export market. The different colored overglaze enamels, orange, blue, green, and yellow, combine with a wiry black outline to form the design of a singing bird on a flowering bough repeated on each side of the pot.
| Dieses kleine Schiff wurde wahrscheinlich als Teekanne für den europäischen Exportmarkt hergestellt. Die verschiedenen farbigen Überglasuren, orange, blau, grün und gelb, kombinieren mit einem drahtigen schwarzen Umriss, um das Design eines singenden Vogels auf einem blühenden Teig auf jeder Seite des Topfes wiederholt bilden. | |
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This small vessel was likely made as a teapot for the European export market. The different colored overglaze enamels, orange, blue, green, and yellow, combine with a wiry black outline to form the design of a singing bird on a flowering bough repeated on each side of the pot.
| Dette lille fartøj blev sandsynligvis fremstillet som en tekande til det europæiske eksportmarked. De forskellige farvede overglasur emaljer, orange, blå, grøn og gul, kombinere med en kraftig sort omrids til at danne udformningen af en syngende fugl på en blomstrende bough gentaget på hver side af potten. | |
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Court Ladies in the Imperial Palace
| Damas de la Corte en el Palacio Imperial | |
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Court Ladies in the Imperial Palace
| Hof Ladies im Kaiserpalast | |
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Court Ladies in the Imperial Palace
| Court Ladies in the Imperial Palace | |
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staghorn (two branches) with incised and painted geometric decoration; mounts missing
| staghorn (to grene) med indsnit og malet geometrisk dekoration; manglende monteringer | |
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Virgin and Child Enthroned with Saints Francis and Giovanni Gualberto
| Virgen y Niño entronizados con San Francisco y Giovanni Gualberto | |
| t | 7fdEN6a695002d2503-es-libre | libre |
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Panel from a Cassone: The Race of the Palio in the Streets of Florence
| Panel de un Cassone: La carrera del Palio en las calles de Florencia | |
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Standing figurine holding an animal (dog?)
| Stående figur med et dyr (hund?) | |
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Panel from a Cassone: The Race of the Palio in the Streets of Florence
| Panel von einem Cassone: Das Rennen des Palio in den Straßen von Florenz | |
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Virgin and Child Enthroned with Saints Francis and Giovanni Gualberto
| Jungfrau und Kind mit Heiligen Francis und Giovanni Gualberto | |
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Panel from a Cassone: The Race of the Palio in the Streets of Florence
| Panel fra en Cassone: Race af Palio i gaderne i Firenze | |
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Egypt and Nubia: Volume I - Frontispiece, View under the Grand Portico, Philae
| Ägypten und Nubia: Band I - Frontispiece, Blick unter den Grand Portico, Philae | |
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Italy, Lombardy, Milan ?, first half of 15th century
| Italia, Lombardy, Milán ?, primera mitad del siglo XV | |
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Virgin and Child Enthroned with Saints Francis and Giovanni Gualberto
| Jomfru og barn Enthroned med hellige Francis og Giovanni Gualberto | |
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The Master of Guillebert de Mets is named after the scribe who records his name in an illuminated copy of the <em>Decameron</em>, made for Duke Philip the Good of Burgundy, and for which he contributed many of its miniatures. He was active from about 1410 to 1445. So far there is no proof that allows us to follow his career or to know precisely where he worked. Calendars in other manuscripts with which he is associated suggest his shop may have been in Tournai, Liège, Bruges, and more credibly, Ghent. His commissions may have been linked to the itinerant Burgundian court, though no original provenance survives for any of his manuscripts. The Master of Guillebert de Mets painted in an easily recognizable style. His figures have prominent heads with well-delineated eyes and small mouths, slender torsos with thin, spindly legs, and long, finely worked fingers. Many of his miniatures, such as The Crucifixion and The Last Judgment here, show that he often favored mosaic backgrounds of delicately worked checkered patterns.
| El Maestro de Guillebert de Mets es nombrado por el escriba que registra su nombre en una copia iluminada del <em>Decameron</em>, hecho para el Duque Felipe el Bien de Borgoña, y por lo que contribuyó muchas de sus miniaturas. Estuvo activo de aproximadamente 1410 a 1445. Hasta ahora no hay ninguna prueba que nos permita seguir su carrera o saber precisamente dónde trabajó. Calendarios en otros manuscritos con los que está asociado sugieren que su tienda pudo haber estado en Tournai, Liège, Brujas, y más creíblemente, Ghent. Sus comisiones pueden haber estado vinculadas a la corte itinerante de Borgoña, aunque ninguna procedencia original sobrevive para cualquiera de sus manuscritos. El Maestro de Guillebert de Mets pintado en un estilo fácilmente reconocible. Sus figuras tienen cabezas prominentes con ojos bien delineados y pequeñas bocas, torsos esbeltos con patas delgadas y espinosas, y dedos largos y bien trabajados. Muchas de sus miniaturas, como La Crucifixión y el Juicio Final aquí, muestran que a menudo favorecía los fondos de mosaico de patrones cuidadosamente trabajados. | |
| t | 803EN189f73153c7b0-de-libre | libre |
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The Master of Guillebert de Mets is named after the scribe who records his name in an illuminated copy of the <em>Decameron</em>, made for Duke Philip the Good of Burgundy, and for which he contributed many of its miniatures. He was active from about 1410 to 1445. So far there is no proof that allows us to follow his career or to know precisely where he worked. Calendars in other manuscripts with which he is associated suggest his shop may have been in Tournai, Liège, Bruges, and more credibly, Ghent. His commissions may have been linked to the itinerant Burgundian court, though no original provenance survives for any of his manuscripts. The Master of Guillebert de Mets painted in an easily recognizable style. His figures have prominent heads with well-delineated eyes and small mouths, slender torsos with thin, spindly legs, and long, finely worked fingers. Many of his miniatures, such as The Crucifixion and The Last Judgment here, show that he often favored mosaic backgrounds of delicately worked checkered patterns.
| Der Meister von Guillebert de Mets ist nach dem Schreiber benannt, der seinen Namen in einer illuminierten Kopie des <em>Decameron</em>== Weblinks ==== Einzelnachweise ==== Einzelnachweise == Er war von 1410 bis 1445 aktiv. Bisher gibt es keinen Beweis, der es uns erlaubt, seiner Karriere zu folgen oder genau zu wissen, wo er arbeitete. Kalender in anderen Handschriften, mit denen er verbunden ist, deuten darauf hin, dass sein Geschäft in Tournai, Lüttich, Brügge und glaubwürdiger, Gent gewesen sein könnte. Seine Kommissionen waren möglicherweise mit dem burgundischen Gericht verbunden, obwohl keine ursprüngliche Herkunft für irgendeine seiner Manuskripte überlebt. Der Meister von Guillebert de Mets malte in einem leicht erkennbaren Stil. Seine Figuren haben prominente Köpfe mit gut abgegrenzten Augen und kleinen Mündern, schlanken Oberkörpern mit dünnen, spindeligen Beinen und langen, fein gearbeiteten Fingern. Viele seiner Miniaturen, wie die Kreuzigung und das letzte Gericht hier, zeigen, dass er oft Mosaik Hintergründe von zart gearbeiteten karierten Mustern bevorzugte. | |
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The Master of Guillebert de Mets is named after the scribe who records his name in an illuminated copy of the <em>Decameron</em>, made for Duke Philip the Good of Burgundy, and for which he contributed many of its miniatures. He was active from about 1410 to 1445. So far there is no proof that allows us to follow his career or to know precisely where he worked. Calendars in other manuscripts with which he is associated suggest his shop may have been in Tournai, Liège, Bruges, and more credibly, Ghent. His commissions may have been linked to the itinerant Burgundian court, though no original provenance survives for any of his manuscripts. The Master of Guillebert de Mets painted in an easily recognizable style. His figures have prominent heads with well-delineated eyes and small mouths, slender torsos with thin, spindly legs, and long, finely worked fingers. Many of his miniatures, such as The Crucifixion and The Last Judgment here, show that he often favored mosaic backgrounds of delicately worked checkered patterns.
| Master of Guillebert de Mets er opkaldt efter den skribent, der registrerer sit navn i en belyst kopi af <em>Decameron</em>til Hertug Filip, Burgundys Gods, og han bidrog med mange af dens Miniaturer. Han var aktiv fra omkring 1410 til 1445. Indtil videre er der ingen beviser, der tillader os at følge hans karriere eller at vide præcis, hvor han arbejdede. Kalendere i andre manuskripter, som han er tilknyttet, antyder, at hans butik kan have været i Tournai, Liège, Bruges, og mere troværdig, Gent. Hans provisioner kan have været knyttet til den omrejsende Burgundian domstol, men ingen oprindelige herkomst overlever for nogen af hans manuskripter. Master of Guillebert de Mets malet i en let genkendelig stil. Hans skikkelser har fremtrædende hoveder med veldefinerede øjne og små munde, slanke torsoer med tynde, spindel ben, og lange, fint arbejdede fingre. Mange af hans miniaturer, såsom Korsfæstelsen og den sidste dom her, viser, at han ofte favoriserede mosaikbaggrunde af delikate arbejdede gennemtænkte mønstre. | |
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Cruet
| Cruet | |
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Book of Hours (Use of Rouen): fol. 24r
| Timebog (brug af Rouen): føl. 24r | |
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aquatint, stipple, and etching with watercolor added by hand
| aquatint, estipple y grabado con acuarela añadido a mano | |
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aquatint, stipple, and etching with watercolor added by hand
| Aquatin, Stelzen und Radierung mit Aquarell von Hand hinzugefügt | |
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aquatint, stipple, and etching with watercolor added by hand
| akvatint, stipple, og ætsning med vandfarve tilføjet i hånden | |
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Black Lion Wharf
| Black Lion Wharf | |
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Black Lion Wharf
| Schwarzer Löwe Wharf | |
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Black Lion Wharf
| Black Lion Wharf | |
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screenprint with hand coloring
| screenprint con coloración de la mano | |
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screenprint with hand coloring
| Siebdruck mit Hand Färbung | |
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screenprint with hand coloring
| screensprint med håndfarve | |
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Text, folio 373 (recto), from a Gospel Book with Commentaries
| Texto, folio 373 (recto), de un libro del Evangelio con comentarios | |
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Text, folio 373 (recto), from a Gospel Book with Commentaries
| Text, folio 373 (Recto), aus einem Buch des Evangeliums mit Kommentaren | |
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Text, folio 373 (recto), from a Gospel Book with Commentaries
| Tekst, folio 373 (recto), fra en evangeliebog med kommentarer | |
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Kero (Waisted Cup)
| Kero | |
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Kero (Waisted Cup)
| Kero (Waisted Cup) | |
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Kero (Waisted Cup)
| Kero (Waisted Cup) | |
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The Scales
| Las escalas | |
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The Scales
| Die Skalen | |
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The Scales
| Skalaer | |
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The Prodigal Son: Troisième Tableau
| The Prodigal Son: Troisième Tableau | |
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The Prodigal Son: Troisième Tableau
| Der verlorene Sohn: Troisième Tableau | |
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The Prodigal Son: Troisième Tableau
| Den fortabte søn: Troisième Tableau | |
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Study of an Old Man
| Estudio de un Hombre Viejo | |
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Study of an Old Man
| Studie eines alten Mannes | |
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Study of an Old Man
| Undersøgelse af en gammel mand | |
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During the British colonial period in Sri Lanka (Ceylon), a 12th-century monastic establishment with a colossal stone sculpture of the reclining Buddha had fallen into ruins. The photographer’s intentional inclusion of a Sri Lankan man, leaning against a pillar at the front of the composition, and a colonial Englishman, clambering over Buddha’s body, underscores how differently they interact with the site. The Sri Lankan visitor views the ruins with devotional reverence; the Englishman treats it as a place of adventurous entertainment.
| Durante el período colonial británico en Sri Lanka (Ceylon), un establecimiento monástico del siglo XII con una escultura de piedra colosal del Buda reclinable había caído en ruinas. La inclusión intencionada del fotógrafo de un hombre de Sri Lanka, apoyado contra un pilar en el frente de la composición, y un inglés colonial, aclamando sobre el cuerpo de Buda, subraya lo diferente que interactúan con el sitio. El visitante de Sri Lanka ve las ruinas con reverencia devocional; el inglés lo trata como un lugar de entretenimiento aventurero. | |
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Study of Orchids
| Studium der Orchideen | |
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Chateau Fontainebleau and Gardens
| Chateau Fontainebleau und Gärten | |
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Study of Orchids
| Undersøgelse af orkider | |
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During the British colonial period in Sri Lanka (Ceylon), a 12th-century monastic establishment with a colossal stone sculpture of the reclining Buddha had fallen into ruins. The photographer’s intentional inclusion of a Sri Lankan man, leaning against a pillar at the front of the composition, and a colonial Englishman, clambering over Buddha’s body, underscores how differently they interact with the site. The Sri Lankan visitor views the ruins with devotional reverence; the Englishman treats it as a place of adventurous entertainment.
| Während der britischen Kolonialzeit in Sri Lanka (Ceylon) war eine monastische Einrichtung aus dem 12. Jahrhundert mit einer kolossalen Steinskulptur des ruhenden Buddha in Ruinen gefallen. Die Fotografen der absichtlichen Aufnahme eines srilankischen Mannes, sich gegen eine Säule an der Vorderseite der Komposition, und ein kolonialer Engländer, clambering über Buddhas Körper, unterstreicht, wie unterschiedlich sie mit der Website interagieren. Der Sri Lanka Besucher sieht die Ruinen mit Hingabe Ehrfurcht; der Engländer behandelt es als Ort der abenteuerlichen Unterhaltung. | |
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During the British colonial period in Sri Lanka (Ceylon), a 12th-century monastic establishment with a colossal stone sculpture of the reclining Buddha had fallen into ruins. The photographer’s intentional inclusion of a Sri Lankan man, leaning against a pillar at the front of the composition, and a colonial Englishman, clambering over Buddha’s body, underscores how differently they interact with the site. The Sri Lankan visitor views the ruins with devotional reverence; the Englishman treats it as a place of adventurous entertainment.
| Under den britiske koloniperiode i Sri Lanka (Ceylon) var et monastisk etablissement fra det 12. århundrede med en kolossal stenskulptur af den tilbagetagne Buddha faldet i ruiner. Fotografens forsætlige medtagelse af en srilankan mand, læner sig mod en søjle foran kompositionen, og en kolonial englænder, klamrer sig over Buddha krop, understreger, hvor forskelligt de interagerer med webstedet. Den srilankanske besøgende ser ruinerne med hengivenhed; englænderen behandler det som et sted for eventyrlig underholdning. | |
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Album of Landscape Paintings Illustrating Old Poems: Man with a Staff Admires Chrysanthemums at a Fence
| Álbum de Pinturas Paisajísticas Ilustrando Antiguos Poemas: Hombre con un Staff Almirantes Crisanthemums en un Fence | |
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Album of Landscape Paintings Illustrating Old Poems: Man with a Staff Admires Chrysanthemums at a Fence
| Album of Landscape Paintings Illustrating Old Poems: Mann mit einem Stab bewundert Chrysanthemen in einer Fence | |
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Album of Landscape Paintings Illustrating Old Poems: Man with a Staff Admires Chrysanthemums at a Fence
| Album af landskab Malerier Illustrerende gamle digte: Mand med en stav Admires Chrysanthemums på en Fence | |
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Tea Caddy with Lid
| Tea Caddy con Lid | |
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Tea Caddy with Lid
| Tea Caddy mit Lid | |
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Tea Caddy with Lid
| te Caddy med låg | |
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France, Lyon, early 18th century (Late Baroque)
| Francia, Lyon, principios del siglo XVIII (Late Baroque) | |
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France, Lyon, early 18th century (Late Baroque)
| Frankreich, Lyon, Anfang des 18. Jahrhunderts (Late Barock) | |
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France, Lyon, early 18th century (Late Baroque)
| Frankrig, Lyon, begyndelsen af det 18. århundrede (Late Baroque) | |
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The Triumph of Amphitrite
| El triunfo del anfitrito | |
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The Triumph of Amphitrite
| Der Triumph von Amphitrite | |
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The Triumph of Amphitrite
| The Triumph of Amphitrite | |
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pen and black ink and black and colored pastel with graphite framing lines
| pluma y tinta negra y pastel negro y de color con líneas de encuadre de grafito | |
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pen and black ink and black and colored pastel with graphite framing lines
| Stift und schwarze Tinte und schwarz und farbig Pastell mit Graphitrahmen | |
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pen and black ink and black and colored pastel with graphite framing lines
| pen og sort blæk og sort og farvet pastel med grafit indramming linjer | |
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Nakatsu, from the series Fifty-three Stations in the Life of a Beauty
| Nakatsu, de la serie Cincuenta y tres estaciones en la vida de una belleza | |
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Nakatsu, from the series Fifty-three Stations in the Life of a Beauty
| Nakatsu, aus der Serie Fifty-three Stations im Leben einer Schönheit | |
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Nakatsu, from the series Fifty-three Stations in the Life of a Beauty
| Nakatsu, fra serien Fifty- tre Stationer i livet af en skønhed | |
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Onoe Matsusuke I as Ebisu, from The Stand-In Seven Gods of Good Fortune
| Onoe Matsusuke Yo como Ebisu, de los Siete Dioses de la Buena Fortuna | |
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Onoe Matsusuke I as Ebisu, from The Stand-In Seven Gods of Good Fortune
| Onoe Matsusuke Ich als Ebisu, vom Stand-In Sieben Götter des Guten Glücks | |
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Onoe Matsusuke I as Ebisu, from The Stand-In Seven Gods of Good Fortune
| Onoe Matsususuke Formand Jeg som Ebisu, fra The Stand- In Seven Gods of Good Fortune | |
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Cartouche (verso)
| Cartouche (verso) | |
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Cartouche (verso)
| Kartusche (verso) | |
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Cartouche (verso)
| Cartouche (verso) | |
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A well-known composer of the 1700s, Gluck reformed opera by bringing unprecedented simplicity and sincerity to his music and staging, qualities shared by Houdon’s bust. This portrait, by depicting Gluck’s pockmarked face, was perceived as a natural and truthful representation. Yet, he would never have appeared publicly with unkempt hair and an open collar, which constituted the standard for representing an artist.
| Un conocido compositor de la 1700, Gluck reformó la ópera trayendo sin precedentes sencillez y sinceridad a su música y puesta en escena, cualidades compartidas por el busto de Houdon. Este retrato, al describir la cara pockmarked de Gluck, fue percibido como una representación natural y veraz. Sin embargo, nunca habría aparecido públicamente con el pelo sin mancha y un cuello abierto, que constituía el estándar para representar a un artista. | |
| t | 804EN4357cb0c4275c-de-libre | libre |
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A well-known composer of the 1700s, Gluck reformed opera by bringing unprecedented simplicity and sincerity to his music and staging, qualities shared by Houdon’s bust. This portrait, by depicting Gluck’s pockmarked face, was perceived as a natural and truthful representation. Yet, he would never have appeared publicly with unkempt hair and an open collar, which constituted the standard for representing an artist.
| Ein bekannter Komponist der 1700er Jahre, Gluck reformierte Oper, indem er beispiellose Einfachheit und Aufrichtigkeit zu seiner Musik und Inszenierung brachte, Qualitäten geteilt von Houdon-Büste. Dieses Portrait, durch Darstellung von Glucks pockmarked Gesicht, wurde als eine natürliche und wahrheitsgetreue Darstellung wahrgenommen. Doch er wäre nie öffentlich mit ungepflegten Haaren und einem offenen Kragen erschienen, der den Standard für die Darstellung eines Künstlers bildete. | |
| t | 804EN4357cb0c4275c-da-libre | libre |
en->da
A well-known composer of the 1700s, Gluck reformed opera by bringing unprecedented simplicity and sincerity to his music and staging, qualities shared by Houdon’s bust. This portrait, by depicting Gluck’s pockmarked face, was perceived as a natural and truthful representation. Yet, he would never have appeared publicly with unkempt hair and an open collar, which constituted the standard for representing an artist.
| En velkendt komponist af 1700-tallet, Gluck reformeret opera ved at bringe hidtil uset enkelhed og oprigtighed til hans musik og iscenesættelse, kvaliteter deles af Houdons buste. Dette portræt, ved at skildre Glucks pockmark ansigt, blev opfattet som en naturlig og sandfærdig repræsentation. Men han ville aldrig være dukket op offentligt med ukrudtet hår og en åben krave, som udgjorde standarden for at repræsentere en kunstner. | |
| t | 804EN636d513a324ea-es-libre | libre |
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The English in India approximated life back home instead of adopting local ways. This image, probably one of Deen Dayal’s stock photographs, proved to those back in England that the comforts of home were readily available in India. Treacher’s, a multistory emporium in Bombay, offered a plethora of products ranging from drugs, wine, and electromedical instruments to silver tea sets and rocking horses. Many goods were imported, but some local craftsmen had mastered traditional European forms for objects including furniture and silver.
| Los ingleses en India aproximaron la vida en casa en lugar de adoptar formas locales. Esta imagen, probablemente una de las fotografías de Deen Dayal, demostró a los de atrás en Inglaterra que las comodidades del hogar estaban fácilmente disponibles en la India. Treacher’s, un emporium multistory en Bombay, ofreció una plétora de productos que van desde medicamentos, vinos e instrumentos electromédicos a set de té de plata y caballos rocosos. Muchos productos fueron importados, pero algunos artesanos locales habían dominado formas europeas tradicionales para objetos, incluyendo muebles y plata. | |
| t | 7feEN32231c2633ba7-da-libre | libre |
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Vessel with Two Lugs
| Fartøj med to luger | |
| t | 7feEN3f36806ba9cfc-es-libre | libre |
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gold-mounted agate, engine-turned panels, hematites
| ágata montada en oro, paneles girados en motor, hematitas | |
| t | 7f9EN5fc4621b63ef0-es-libre | libre |
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Kiyonobu's prints are usually hand-colored and outlined in black. They often depict actors and scenes from plays. Kiyonobu's was largely responsible for introducing theater prints as commercial products. He is regarded as the founder of the Torii school, which with its close relationship to the theater, dominated printmaking for 75 years until the appearance of Shunsho in the late 1700s.
| Las huellas de Kiyonobu suelen ser de color a mano y se esbozan en negro. A menudo representan actores y escenas de obras. Kiyonobu's fue en gran parte responsable de introducir las impresiones teatrales como productos comerciales. Es considerado como el fundador de la escuela Torii, que con su estrecha relación con el teatro, dominó el grabado durante 75 años hasta la aparición de Shunsho a finales de la década de 1.700. | |
| t | 7feEN3f36806ba9cfc-de-libre | libre |
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gold-mounted agate, engine-turned panels, hematites
| goldmontiertes Achat, motorgetriebene Paneele, Hämatite | |
| t | 7fbEN4b72cf3861ba2-da-libre | libre |
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This folio is the first in the series. The composition is set in a geometrical palatial setting with four chambers. In one room, a man dressed in royal garb holds a scale in front of Madhava. A woman curiously observes the scene from the chamber above. In the middle, a priest sits reading a text, and a warrior occupies the space at the right, holding his shield.
| Denne folio er den første i serien. Sammensætningen er indstillet i en geometrisk palatial indstilling med fire kamre. I et rum, en mand klædt i royal garb holder en skala foran Madhava. En kvinde ser på scenen fra kammeret. I midten sidder en præst og læser en tekst, og en kriger besætter rummet til højre og holder sit skjold. | |
| t | 7feEN3f36806ba9cfc-da-libre | libre |
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gold-mounted agate, engine-turned panels, hematites
| guldindfattede agat, spejlvendte paneler, hæmatitter | |
| t | 804EN636d513a324ea-de-libre | libre |
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The English in India approximated life back home instead of adopting local ways. This image, probably one of Deen Dayal’s stock photographs, proved to those back in England that the comforts of home were readily available in India. Treacher’s, a multistory emporium in Bombay, offered a plethora of products ranging from drugs, wine, and electromedical instruments to silver tea sets and rocking horses. Many goods were imported, but some local craftsmen had mastered traditional European forms for objects including furniture and silver.
| Die Engländer in Indien näherten das Leben zu Hause an, anstatt lokale Wege anzunehmen. Dieses Bild, wahrscheinlich eines der Deen Dayal s Stock-Fotografien, beweist denen zurück in England, dass der Komfort von zu Hause waren leicht verfügbar in Indien. Treacher, ein multistory Emporium in Bombay, bot eine Vielzahl von Produkten von Drogen, Wein und elektromedizinischen Instrumenten, Silbertee-Sets und Schaukelpferde. Viele Waren wurden importiert, aber einige lokale Handwerker hatten traditionelle europäische Formen für Objekte einschließlich Möbel und Silber gemeistert. | |
| t | 804EN636d513a324ea-da-libre | libre |
en->da
The English in India approximated life back home instead of adopting local ways. This image, probably one of Deen Dayal’s stock photographs, proved to those back in England that the comforts of home were readily available in India. Treacher’s, a multistory emporium in Bombay, offered a plethora of products ranging from drugs, wine, and electromedical instruments to silver tea sets and rocking horses. Many goods were imported, but some local craftsmen had mastered traditional European forms for objects including furniture and silver.
| Den engelske i Indien tilnærmede livet derhjemme i stedet for at vedtage lokale måder. Dette billede, sandsynligvis en af Deen Dayal 's stock fotografier, viste for dem tilbage i England, at bekvemmeligheder i hjemmet var let tilgængelige i Indien. Treacher' s, et multietagers kejsersnit i Bombay, tilbød et væld af produkter lige fra narkotika, vin og elektromedicinske instrumenter til sølvte og gyngeheste. Mange varer blev importeret, men nogle lokale håndværkere havde mestret traditionelle europæiske former for genstande, herunder møbler og sølv. | |
| t | 804EN6ca5b9fa6e882-es-libre | libre |
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Dinner Service (Rousseau service): Large lobster with raised antenna (no. 21)
| Servicio de cena (Servicio de restauración): Langosta grande con antena elevada (no. 21) | |
| t | 804EN6ca5b9fa6e882-de-libre | libre |
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Dinner Service (Rousseau service): Large lobster with raised antenna (no. 21)
| Dinner Service (Rousseau Service): Großer Hummer mit erhöhter Antenne (Nr. 21) | |
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Dinner Service (Rousseau service): Large lobster with raised antenna (no. 21)
| Middagstjeneste (Rousseau-service): Stor hummer med hævet antenne (nr. 21) | |
| t | 804EN83af770c1c897-es-libre | libre |
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Album of Miscellaneous Subjects, Leaf 4
| Álbum of Miscellaneous Subjects, Leaf 4 | |
| t | 804EN83af770c1c897-de-libre | libre |
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Album of Miscellaneous Subjects, Leaf 4
| Album Verschiedene Themen, Blatt 4 | |
| t | 804EN83af770c1c897-da-libre | libre |
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Album of Miscellaneous Subjects, Leaf 4
| Album af forskellige emner, Leaf 4 | |
| t | 804ENa68f8308e213c-es-libre | libre |
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Bookplate: Coat of Arms with David Greene inscribed below
| Placa de Libro: Carne de Armas con David Greene inscrito abajo | |
| t | 804ENa68f8308e213c-de-libre | libre |
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Bookplate: Coat of Arms with David Greene inscribed below
| Bookplate: Wappen mit David Greene unten eingeschrieben | |
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Bookplate: Coat of Arms with David Greene inscribed below
| Bogplade: Våbenskjold med David Greene indskrevet nedenfor | |
| t | 804ENa96d93613c0c3-es-libre | libre |
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The Pear Thief, No. 1
| El Pear Thief, No. 1 | |
| i | 804ENa96d93613c0c3-de-libre | libre |
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The Pear Thief, No. 1
| The Pear Thief, No. 1 | |
| t | 804ENa96d93613c0c3-da-libre | libre |
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The Pear Thief, No. 1
| The Pære Thief, No. 1 | |
| t | 805EN2192b9e865496-de-libre | libre |
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Ascension of Saint Jerome
| Aufstieg des Heiligen Jerome |