Inscription: Inscribed on table at left: „Divers / PORTRAITS / gravés à l’eau-forte, / et dediés à MrDOMINIQUE CORVI / Peintre Celebre / par / JEAN DAVID GENOIS / Son Éleve. / À VENISE
Manuel de l’amateur d’estampes: contenant le dictionnaire des graveurs de toutes les nations
Catalogue of the Crosby Brown Collection of Musical Instruments of All Nations: I
Traditional Art of the African Nations in the Museum of Primitive Art.
Catalogue of the Crosby Brown Collection of Musical Instruments of All Nations: I
The porcelains were often stored at the lowest level of the ships, both to provide ballast and because they were impervious to water.
Following the nation’s newfound independence in 1784, America officially entered
Inscription: Linocut image signed lower right ‚Bracho‘; extensive letterpress below: ‚Manifesto al pueblo del soconusco … / Tapachula, Chis., 27 de Abril de 1938.‘ In pencil lower right of sheet (probably autograph) ‚Angel Bracho‘
�ngel Bracho (Mexican, Mexico City 1911–2005) 1947 Buying and selling of nations
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
projects, and construction on airstrips in remote communities, often alongside First Nations
Brought back from Europe to the United States in 1902-1903 by W.C. Fields (1880-1946) or obtained by Fields from D.W. Griffith in the late 1930s; 1946, by descent to Carlotta Monti (1907-1993), California; unknown date, sold on behalf of Carlotta Monti; 1980s-2004, private collection, New England; 2004, purchased by Henrietta and Christopher McCall on eBay; acquired by the Museum in 2023, purchased from Christopher McCall, Henley-on-Thames, UK
The Art Journal Illustrated Catalogue: The Industry of All Nations. 1851, London:
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
years, not only in the waning empire itself but also among rival Eastern Christian nations
In the late 1950s and early ’60s American photographers reinvented the documentary tradition once again. This time the subjective tradition that had emerged in the 1940s and early ’50s became a kaleidoscope through which photographers looked at the world.
incursion into the natural world becomes a blatant threat to the integrity of the nation
