Freer Gallery of Art and Arthur M. Sackler Gallery Search

painting

Waves and bird

1 pp

[1] See Original Panel List, L. 49, pg. 17, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

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painting

Waves at Matsushima 松島図屏風

2 pp

[1] See Original Screen List, S.I. 123-124, L. 115, pg. 34, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

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painting

[1] See Original Album List, pg. 33, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. This object exhibits seals, colophons, or inscriptions that could provide additional information regarding the object’s history; see Curatorial Remarks in the object record for further details.

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Weary

1 pp

Whistler etchings are identified by "G" numbers as assigned in "James McNeill Whistler: The Etchings, a catalogue raisonne," by Margaret F. McDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock (University of Glasgow, 2012), http://etchings.arts.gla.ac.uk. This print is G93 state 3 of 6.

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Weary

1 pp

.Whistler etchings are identified by "G" numbers as assigned in "James McNeill Whistler: The Etchings, a catalogue raisonne," by Margaret F. McDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock (University of Glasgow, 2012), http://etchings.arts.gla.ac.uk. This print is G93 state 4 of 6.

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Weary

1 pp

[1] See Original Whistler List, Etchings, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Thomas Way Sr. and his son, Thomas Robert Way, were lithographers who worked closely with Whistler on several of his projects. They helped with the printing of his etchings, as well as the printing of Whistler’s promotional materials. Both Thomas Way Sr. and Thomas Robert Way owned many Whistler

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painting

Wedding Ceremony with Brahma in Attendance

1 pp

H x W: 21.9 × 18.5 cm (8 5/8 × 7 5/16 in)

#ld1-1643390182193-1643390213156-0

painting

Wedding Preparations: folio from a Nala-Damayanti series

1 pp

This drawing is one of a series that illustrates the love story of the heroic Nala and the beautiful Damayanti, a tale that forms part of the renowned Hindu epic, the Mahabharata (Great story of the Bharatas). Using the convention of continuous narrative that was popular at many Rajput courts, the artist has portrayed Damayanti three times as she prepares for her wedding. At the very center a grou

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object

Weft-woven tapestry (kesi): Three Star Gods and Joy Personified as Two Children

1 pp

[1] See Original Kakemono and Makimono List, L. 1164, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. See also, Voucher No. 18, December 1916.

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sculpture

Western Paradise of the Buddha Amitabha

2 pp

[1] In the very early in the 20th century, the Cave Temples of Xiangtangshan suffered extensive damage and theft. The reliefs were removed from Cave 2 of the Southern group prior to 1920 when the Japanese team of Tokiwa and Sekino surveyed the site. See Shina Bukkyo Shiseki, Tokyo, 1927, vol. 3, pp. 53 ff., the two reliefs are not mentioned at all. J. Keith Wilson and Daisy Yiyou Wang outline when

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Wheelwright

1 pp

Whistler etchings are identified by "G" numbers as assigned in "James McNeill Whistler: The Etchings, a catalogue raisonn&‌eacute;," by Margaret F. McDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock (University of Glasgow, 2012), http://etchings.arts.gla.ac.uk. This print is G240 state 7 of 9.

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Wheelwright

1 pp

#ld1-1643390182193-1643390185086-1

Survos folio core type search

Freer Gallery of Art and Arthur M. Sackler Gallery

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Waves and bird

Waves at Matsushima 松島図屏風

Way-station and travelers

Weary

Weary

Weary

Wedding Ceremony with Brahma in Attendance

Wedding Preparations: folio from a Nala-Damayanti series

Weft-woven tapestry (kesi): Three Star Gods and Joy Personified as Two Children

Western Paradise of the Buddha Amitabha

Wheelwright

Wheelwright