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collection/search/449149 https://www.metmuseum.org/art/collection/search/449149 Link

collection/search/323576 https://www.metmuseum.org/art/collection/search/323576 Link

42; Castañeda and Mendoza, 1933, p. 16; Kurath and Martí, 1964, p. 47, 60, 84)

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Inscription: (on each corner and center): A [image of a knot] E [reversed] (unidentified)(on dog collar; twice): AE(on dog collar bearing arms; twice): AMarking: Arms (on dog collar on right): Quarterly, 1 and 4, barry of six or and azure, the first two bars debruised by three roses gules, seeded proper; 2 and 3, or, three escutcheons gules
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collection/search/483438 https://www.metmuseum.org/art/collection/search/483438 Link

This is one of the earliest known works by Berchem, and is generally consistent with Haarlem landscape painting of the 1640s. Though the painting has awkward passages, especially the female figure and the cow, the trees and sky are fluidly painted
collection/search/435655 https://www.metmuseum.org/art/collection/search/435655 Link

collection/search/253512 https://www.metmuseum.org/art/collection/search/253512 Link

Beads (1980.456, .457) and pendant (30.95.37)Among the luxury arts that flourished under the Fatimid caliphs, gold jewelry stands out for its innovation and complexity. According to literary sources, prodigious amounts of such jewelry were manufactured for both royal and patrician patrons; most of these items were later melted down for currency or refashioned into newer pieces
collection/search/706058 https://www.metmuseum.org/art/collection/search/706058 Link

top (not original) with rosewood binding and purfling (inside) of pine/rosewood/p/