Futhorc Off

Tsuba (sword guard) with design of snake, Japan, Edo period, mid-19th century, Seki Yoshinori. MFA

Фото: Альфонс Муха (чешский художник и декоратор, один из ярчайших представителей стиля ар-нуво, плакатист, декоратор, ювелир и фотограф)

by Sir Frank Dicksee

The Garden of Eden with the Fall of Man (also known as The Earthly Paradise with the Fall of Adam and Eve), (Detail), (c. 1615), by Sir Peter Paul Rubens (Flemish, 1577 – 1640) and Jan Brueghel the Elder (Dutch, 1568 –1625), oil on panel, 74.3 cm (29.2 in) x 114.7 cm (45.1 in), Mauritshuis, The Hague

Cleveland Museum of Art 1971.46

Internet Archive

Art Deco statues sculpted by Luis Perlotti as part of the gate at the Municipal Cemetery in Luján, Buenos Aires, Argentina. The gate itself was designed by Viktor Sulčič and erected in 1928.

The eye of Istar. 1897. Cover art.

René Lalique Serpent Pectoral Pendant designed around 1899.

🐉 Ulyssis Aldrovandi …. Bononiæ, apud C. Ferronium, 1640.. Original source Image description: Illustration from a 1640s book by Ulyssis Aldrovandi, showing two intertwined serpents or dragon-like creatures. Both have elongated, scaled bodies with detailed textured patterns. The heads are rounded and distinct, one slightly larger than the other. Latin text above and beside the drawings identifies the species, referencing “Aspidis” and “vipera,” suggesting these may be mythological or symbolic representations related to dragons or serpents. The style is typical of early natural history engravings, with fine line work on aged paper.

Bat lantern from 1930.

55 ½ in. (141 cm) high

A selection of animals from various 17th and 18th century calligraphy copybooks which were drawn with single lines to practice (and show off) penmanship strokes.

Zhangye Danxia National Park, China by Tatiana Runova

Litigatio Christi cum Belial, German, 1461, Folio 2r, Codex Cgm 48

Ambrose, Bishop of Milan from 374, denied Theodosius entry into the cathedral because the emperor had perpetrated a horrific massacre among the inhabitants of Thessalonica in retaliation for the murder of one of his generals. The composition reaches its climax with the encounter between the two adversaries. Their red and gold robes add accents to the otherwise reduced color scheme of gray and brown tones. Rubens formulates the bishop's steadfastness as the moral message of the painting.