Gold Leaf

Gold leaf that belonged to great grandmother French. This is enclosed in an envelope which has Jas. Carruthers and Co. Grain Exporters, New York as a return address, n.d.

Bronze stamping leaf.

Prepared by Morris S. Kantrowitz and Frederick R. Blaylock.

Caracterização através de análise química da escultura portuguesa sobre madeira de produção erudita e de produção popular da época barroca

Making use of several analytical techniques, four erudite and four popular Portuguese baroque wooden sculptures were studied. The materials and techniques employed were identified and the relationship between their artistic quality and the materials used was investigated. In general, the pigments were common at the time, but one pigment discovered in the beginning of the 18th century and two rare arsenic pigments were also identified. In popular sculptures cost-saving was detected, particularly concerning the gold leaf. Regarding some technical procedures identified, recommendations found in historical documents did not seem to have been entirely followed, neither in erudite nor in popular sculptures.

Rûz-nâme : manuscript, [ca. 1845]

Calendar scroll for years 1263-1348/1846-1930 for city of Samakov, Bulgaria. Numerous tables based on various calculations. Hijri and Rumi years, with months, prayer hours, related elements.

Tiraz Fragment

Textile, Islamic, Abbasid; 1 ft. 10 63/64 in.x 1 ft. 3 63/64 in.; cotton, ink, and gold; plain weave, resist-dyed (ikat), painted Inscription: black ink and gold leaf; painted

Lamentation, fol. 149v, from Belle Heures du Duc de Berry

Limbourg Brothers; 9 3/8 in.x 6 11/16 in.; tempera and gold leaf on vellum

The Duc on a Journey, fol. 168r, from Belle Heures du Duc de Berry

Limbourg Brothers; 9 3/8 in.x 5 ft. 6 59/64 in.; tempera and gold leaf on vellum

Venus Shooting an Arrow Through an Opening of the Tower: detail, from Le Roman de la Rose

Manuscript, French, 15C; tempera, gold leaf, and ink on parchment bound between pasteboard

The Virgin Mary with Saints Thomas Aquinas and Paul

Bernardo Daddi; 3 ft. 11 7/8 in.x 3 ft. 8 31/64 in.; tempera and gold leaf on panel

The Virgin Mary with Saints Thomas Aquinas and Paul: detail of the Virgin Mary

Bernardo Daddi; tempera and gold leaf on panel

The Adoration of the Magi

Giotto di Bondone; 1 ft. 5 3/4 in. x 1 ft. 5 1/4 in.; one of a series of six panels, tempera and gold leaf on panel

The Crucifixion

Master of the Codex of Saint George; 1 ft. 5 63/64 in. x 11 47/64 in.; one of a series of paitings, tempera and gold leaf on panel

The Lamentation

Master of the Codex of Saint George; 1 ft. 5 63/64 in. x 11 47/64 in.; one of a series of paintings, tempera and gold leaf on panel

Saint John on Patmos, The Virgin and Child Enthroned, and the Death of the Virgin, left wing of a diptych

Pacino di Bonaguida; 2 ft. 3/8 in. x 1 ft. 3 63/64 in.; tempera and gold leaf on panel

The Crucifixion, right wing of a diptych

Pacino di Bonaguida; 2 ft. 3/8 in. x 1 ft. 3 63/64 in.; tempera and gold leaf on panel