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A work made of gold, enamel, emeralds, baroque pearl, and pearls.

Pendant with the Penitent Saint Jerome, c. 1650 (central jewel); c. 1700 (mount)

A work made of gold, enamel, rock crystal, and lapis lazuli.

Casket with the Three Theological Virtues, c. 1525-c. 1550

A work made of gold.

Ring with the Virgin and Child and Saints Margaret and Catherine, c. 1425–c. 1480

A work made of gilt bronze and mirrored glass.

Mirror, c. 1560-c. 1570

A work made of gold.

Signet Ring, c. 1475–c. 1500

A work made of gold, enamel, diamonds, and pearls.

Fifteen Links Mounted as a Necklace, c. 1550–c. 1600

A work made of gold and garnet.

Tart Mold Ring, 13th century

A work made of gold, tourmaline, and traces of enamel.

Ring, c. 1525–c. 1575

A work made of silver, gilding, basse taille enamel, on a modern velvet support.

Girdle (Belt), c. 1325–c. 1375

A work made of terracotta and paint.

La morocha, 1946

Lucio Fontana

A work made of white marble, black marble, stone, and wood.

White Negress II, 1928

Constantin Brancusi

Vibrantly colored geometric painting of a central white and blue waterfall with birds visible through it. A stylized red jungle cat and black wild boar drink at bottom right. Red water wheel at left, angular blue and white cityscape top at left, tree top at right.

The Bewitched Mill, 1913

Franz Marc

A work made of lithograph in brown and black ink on ivory wove paper.

Dedication, 1823

Ferdinand Olivier

A work made of silk, warp-float faced 7:1 satin weave; patterned with impressed gold leaf; lined with silk, plain weave; dyed with beni, safflower.

Surihaku (Noh Costume), Edo period (1615–1868), 1775/1825

A work made of silk and gold-leaf-over-lacquer-paper strips, complex gauze weave with supplementary brocading wefts and self-patterned by areas of 1:2 'z' twill interlacing; lined with silk, plain weave; dyed with beni, safflower.

Chôken (Noh Costume), late Edo period (1789–1868), 1825/1875

A work made of silk and gold-leaf-over-lacquered-paper strips, complex gauze weave with supplementary brocading wefts.

Unusual Ôsodemone-Style Garment, late Edo period (1789–1868), 1801/25

A work made of silk and gold-leaf-over-lacquered-paper strips, warp-float faced 7:1 satin weave with plain interlacings of secondary binding warps and supplementary patterning wefts; back stiffened with reeds, plain weave; covered with paper; lined with silk, plain weave; ties: silk, plain weave; braided cords.

Hangiri (Noh Costume), 1801/25, late Edo period (1789–1868)

A work made of silk and gold-leaf-over-lacquered-paper strips, complex gauze weave with supplementary brocading wefts.

Chôken (Noh Costume), 1901/25, Meiji period (1868–1912)/ Taishô period (1912–1926)

A work made of oil on canvas.

Ange Laurent de Lalive de Jully, 1759–70

After Jean Baptiste Greuze

A work made of silk, plain weave; patterned with resist dyeing, impressed gold leaf, and embroidered with silk in satin, single satin, surface satin and stem stitches; couching; lined with silk, plain weave; center back panels of silk, warp-float faced 3:1 twill weave self-patterned by areas of plain weave.

Nuihaku (Noh Costume), Momoyama period (1568–1615), 16th century

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