http://collections.mfa.org/collections/314105/objects/rdfEuropean Decorative Artshttp://collections.mfa.org/internal/media/dispatcher/1030881/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/797822/resize%3Aformat%3DfullArmchair1787Jean-Baptiste-Claude SenéGilded beechPart of a suite of bedroom furniture (including Bed 21.1265, Kneeling Chair 53.2092, Firescreen 27.533, 2 Armchairs 50.2342, 53.2851, and 4 Side Chairs 27.524, 27.525, 47.244, and 53.2850)Rectangular back, padded & upholstered arms, cushioned seat. Frame of acanthus and bead ornament. Bell-flowers in flutes on tapering legs.http://collections.mfa.org/objects/57589/rdfhttp://collections.mfa.org/internal/media/dispatcher/1298209/resize%3Aformat%3DfullBureauabout 1900Ernest William GimsonWalnut, rosewood; oak, pine, brassUpright rectangular form, paneled fall front with elaborated teardrop lock mechanism revealing fourteen drawers interspersed with three cupboard doors framed in rosewood, set off with string molding of contrasting woods over an open compartment. Inside hinged fall front, are nine carved drawers arranged around a locking cupboard door with raised central panel. Each lock with tent-shaped, rosewood lockplate and carved rosewood handles. Top, sides and back are constructed of paneled walnut. The whole rests on stepped trestle ends and an arched apron front.http://collections.mfa.org/objects/54366/rdfhttp://collections.mfa.org/internal/media/dispatcher/995152/resize%3Aformat%3DfullCabinet-on-standabout 1805James NewtonOak, pine, and mahogany, veneered with satinwood, rosewood, tulipwood, ebony, and boxwood; partially ebonized and gilded; ivory, and brassDesigned for a collector, this cabinet is fitted with two banks of eight graduated drawers, intended to hold medals, coins, and other small-scale works of art. The case has a frieze with a Vitruvian scroll below a brass gallery and cast bronze Egypitan heads at each corner of the front and sides of the upper case. A lion's head is at the center of the separate stand, which has reeded legs and lion's paw feet.http://collections.mfa.org/objects/474222/rdfhttp://collections.mfa.org/internal/media/dispatcher/1554303/resize%3Aformat%3DfullCarved panelabout 1770Claude-Nicolas LedouxPainted and gilded oakWhite background, design in relief and gilded. From the Hotel de Montmorency, Paris.http://collections.mfa.org/objects/58735/rdfhttp://collections.mfa.org/internal/media/dispatcher/1561251/resize%3Aformat%3DfullCenterpiece candelabrum1816 (centerpiece); 1819 (branches)John FlaxmanSilver giltThe stem formed as Mercury descending through a cluster of grapevines, delivering the infant Bacchus to the Nymphs of Nysa, each a fully modeled figure in classical dress, on a circular plinth supported by acanthus leaves flanked by three fully-modeled figures of seated Bacchic panthers, or lions, on an incurved triangular base with shell and foliate apron on three scroll and shell feet. The twelve-light branches have six bifurcated scrolling-vine branches, each terminating in two sockets with removable nozzles, the center formed as an acanthus calyx, the base engraved on three sides with a coat-of-arms within acanthus mantling, the nozzles each engraved with a crest, with wood support under base, marked throughout; the base stamped RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS ET PRINCIPIS WALLIAEREGENTIS BRITANNIAS. The coat and arms and crest are those of Sutton for Sir Richard Sutton, 2d Baronet, who married Mary Elizabeth, daughter of Benjamin Burton of Burton Hall, County Carlow.http://collections.mfa.org/objects/666918/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016808/resize%3Aformat%3DfullChandelier1736–37William KentSilverComposed of eight cast branches supported by sphinxes. Surmounted by globe with horse of Hannover, flanked by putti, the whole surmounted by a sovereign's crown.http://collections.mfa.org/objects/53310/rdfhttp://collections.mfa.org/internal/media/dispatcher/797861/resize%3Aformat%3DfullCistern1708–09David Willaume ISilverThe cistern rests on a domed spreading foot assembled of three raised sections chased with two horizontal bands of gadrooning, and above, a chased band of pendant, stylized leaves below a molded arcade. The bombé body of the vessel is raised from heavy sheet, with a chased border of stylized leaves decorating the upper edge. The applied heavy rim is formed of a broad band of gadrooning. The handles are suspended from two brackets in the form of wyverns, cast in several pieces and heavily chased, applied at either end of the body. The urn-shaped fountain rests on a domed spreading foot that is chased with a broad gadrooned band. The spool-shaped stem, formed of several chased sections, has applied vertical brackets and cast gadrooned borders. it supports the baluster body of the vessel, which is formed of seven sections of raised sheet with a gadrooned underside, and four applied cast vertical brackets with rosetts. Four cast lions heads are applied to the shoulder of the vessel, each holding a cast is surmounted by a cast and chased figure in the form of a falcon.http://collections.mfa.org/objects/129116/rdfhttp://collections.mfa.org/internal/media/dispatcher/1154214/resize%3Aformat%3DfullConsole tableabout 1761–63Alcora ManufactoryTin-glazed earthenware, colored enamelsTable whose shaped top consists of two halves supported by four legs in the form of musicians playing horns and trumpets.http://collections.mfa.org/objects/546537/rdfhttp://collections.mfa.org/internal/media/dispatcher/908715/resize%3Aformat%3DfullDiana and Stag Automatonabout 1610–20Joachim FriesCast and chased silver, partially gilded and painted with translucent lacquershttp://collections.mfa.org/objects/452791/rdfhttp://collections.mfa.org/internal/media/dispatcher/1383904/resize%3Aformat%3DfullDrinking glassabout 1650-1700Blown glass with applied prunts, copper wheel engravingThe tapering bowl is inscribed, "Valeant qui inter nos dissidium volunt" ["Away with those who wish disagreement between us"], from lines 696-7 of the Andria of the Roman playwright Terence. The words are surrounded by calligraphic flourishes. The cylindrical stem is separated from the bowl by an applied thread and has applied pointed prunts. The glass stands on a foot with an applied flared rim.http://collections.mfa.org/objects/596404/rdfhttp://collections.mfa.org/internal/media/dispatcher/1132765/resize%3Aformat%3DfullHanukkah Lampabout 1750Silver gilthttp://collections.mfa.org/objects/533025/rdfhttp://collections.mfa.org/internal/media/dispatcher/743560/resize%3Aformat%3DfullInkstand1876Frédéric BoucheronSilver, partially gilded, champlevé, basse taille, cloisonné enamelSilver, partially gilded, decorated in champlevé, basse-taille, and cloisonné enamels, with cut out base supported on four cast turtles, enameled with geometric patterns, naturalistic scenes, and facsimile prints surrounding a sea with carp. Fitted with a drawer etched and parcel-gilt in three colors. Base supports four shaped letter racks in geometric patterns flanked by two rolling blotters topped with "shi-shi" dogs holding brocade balls. Removable central section has a vase-shaped pen holder decorated with female figures, plants, and field mice in kimonos, flanked by nesting boxes enameled in landscape and geometric motifs. Removable lids topped by a beetle and a wasp in gold and basse-taille enamel.http://collections.mfa.org/objects/314240/rdfhttp://collections.mfa.org/internal/media/dispatcher/983564/resize%3Aformat%3DfullMacawabout 1732Meissen ManufactoryHard-paste porcelainNaturalistically modeled, perching on a tree stump base, upside down with wings unfurled and beak open.http://collections.mfa.org/objects/466235/rdfhttp://collections.mfa.org/internal/media/dispatcher/758786/resize%3Aformat%3DfullPair of Ice-Cream Coolers from Service des plantes de la Malmaison1803–04Sèvres ManufactoryHard-paste porcelain with colored enamel and gilded decorationUrn-shaped ice-cream coolers with lids and porcelain liners.http://collections.mfa.org/objects/493753/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016799/resize%3Aformat%3DfullPlate depicting the story of Perseus and Andromeda from the Isabella d'Este serviceabout 1524Nicola da UrbinoTin-glazed earthenware (maiolica)This plate forms part of an original set of 24 with the emblems of Isabella d'Este-Gonzaga (1474-1539), wife of Francesco Gonzaga and celebrated Renaissance patron of the arts. The set is painted with mythological scenes, mostly from prints after Ovid's Metamorphoses, with the exception of two Biblical subjects. The plates include the arms of Gonzaga impaling Este as well as several of Isabella's imprese (emblems) and devices. Represented is a scene of the young Perseus who, after having slain Medusa, came to the rescue of Andromeda. She had been chained to a rock by the wrathful sea God, Poseidon and subjected to a terrible sea monster. Perseus killed the monster, freed and later married her.http://collections.mfa.org/objects/58792/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030881/resize%3Aformat%3DfullReliquary casket ("Emly Shrine")late 7th–early 8th centuryChamplevé enamel on bronze over yew wood; gilt bronze moldings, inlay of lead-tin alloyCarved from a single block of wood, the body and lid have bronze moldings applied with small nails on the edges. Attached to the ridgepole of the sloped roof are bird's-head terminals in green, yellow and red (now brown) enamel and a central boss-repeating the shape of the shrine- with a grid of yellow and green enamel. Only the front is decorated with thin strips of a lead-tin alloy hammered into a repetitive step pattern around central crosses engraved in the wood and with three medallions with yellow and green enamel arranged in a geometric pattern of concentric circles. There are two hinges on the back and an interior clasp on the front.http://collections.mfa.org/objects/52287/rdfhttp://collections.mfa.org/internal/media/dispatcher/1015631/resize%3Aformat%3DfullSamson and Lion Aquamanileearly 14th centuryLeaded latten (81.7% copper, 9.9% tin, 7% lead, 1.4% zinc)Pouring vessel in the shape of Samson battling the lion with the lion's tail arranged as a handle, an aperture for filling in the top of Samson's head, and a spout in the shape of a beast head below the lion's left ear. Cast in one piece, chased and punched. Represented at the moment he springs onto the back of the lion, Samson rests his left leg on one side of the animal, while pressing the lion's front ribs with his right leg, the knee bent outward. The lion, as if caught by surprise, twists his head backward to face his adversary, who grasps his open jaws. Samson's head is adorned by a narrow band and finely delineated long wavy hair streaming down his back. He wears pointed shoes marked by rows of dots and parallel lines, those ornamented on the right thigh with an eight-pointed rosette, and a short tunic. The latter falls in vertical folds gathered at the waist and decorated with groups of four punched dots forming a lozenge and a band containing a row of punched dots along the edges. The mantle draped over Samson's back has a pattern (resembling that of a Near Eastern textile) with a row of large circles containing smaller concentric punched circles and dots; pointed leaves fill the interstices and lower border. The oval face bears a slight smile and large almond eyes with double edges.The stocky lion, with its finely modeled mane arranged in curled tufts, has a collar with a row of punched dots running around the face from ear to ear and an s-shaped tail with tufts resembling flames attached to Samson's back. The ears are nearly round cavities with hatchings on the edges to indicate fur; the double-edged elongated eyes have deeply incised pupils. A band of hatching for the eyebrows continues along the side of the nose and the face, delineating the snout decorated with punched dots. The open mouth with tongue curled over the side shows four triangular teeth in the front and smaller teeth in back. Legs are marked at the top by parallel rows of punched dots (extending up to the shoulder on the front legs) and at the bottom on the outside by a row of dots between thin vertical ribs (suggesting tendons and bones) with hatchings (indicating fur) on either side. The latter pattern is repeated on the underside in front of the genitals. An undulating surface on the claws reveals bone structure and cavities from shrinkage underneath. There are small square copper pins (arranged symmetrically) to plug holes for the chaplets, a cast-on patch filling a rectangular hole (probably for removal of the core) on the lion's chest, and a cast-on repair on the lion's face.http://collections.mfa.org/objects/64990/rdfhttp://collections.mfa.org/internal/media/dispatcher/1414891/resize%3Aformat%3DfullSnuffboxabout 1740Gold, mother-of-pearlA gold-mounted and mother-of-pearl snuffbox, with a zig-zag pattern of stripes alternating with plain and applied double rows of florets.http://collections.mfa.org/objects/588200/rdfhttp://collections.mfa.org/internal/media/dispatcher/1261234/resize%3Aformat%3DfullSweetmeat setabout 1680Samuel van Eenhoorn (Dutch), proprietor, The Greek A FactoryTin-glazed earthenwareEight lappet-shaped dishes surrounding an eight-pointed star-shaped central dish. All nine dishes are decorated with a vase containing flowering branches on which a bird is perched.http://collections.mfa.org/objects/562575/rdfhttp://collections.mfa.org/internal/media/dispatcher/798233/resize%3Aformat%3DfullTable Cabinetabout 1580–1600Wood; oak and pine veneered with maple, cherry, beech, and other woods, gilt brass, ironThe table cabinet (Schreibtisch) is composed of a drop front and lid which when open reveal eight drawers and four small doors. The underlying carcase is constructed of oak with an inner carcase composed of a softwood. The divides between the drawers and compartments are also a softwood faced on the front edges with hardwood veneers. The carcase wood of the drop front and lid is a softwood. All surfaces of the chest including the interior drawers and doors are decorated with a combination of marquetry and intarsia composed of a variety of European woods. The distinctive material used on this cabinet is the green mottled colored veneer which resembles marble. This material is produced by gluing together wood shavings of different woods to form a composite which is then cut to form a veneer in a technique called "Spänemarmorierung" which is often found on Augsburg cabinets. The green wood on the inside of the cabinet is probably a green fungus stained wood which has been previously reported on Augsburg cabinets.http://collections.mfa.org/objects/334450/rdfhttp://collections.mfa.org/internal/media/dispatcher/1317462/resize%3Aformat%3DfullTable lampabout 1919Josef FrankBrass; modern fabric shadeshttp://collections.mfa.org/objects/558746/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016810/resize%3Aformat%3DfullVaseabout 1900Lajos MackEarthenware with luster glazesEarthenware with luster glaze. Baluster form with molded dragon wrapped around body. Blue luster body with green luster with red highlights. Red luster underside.http://collections.mfa.org/objects/63331/rdfhttp://collections.mfa.org/internal/media/dispatcher/1561248/resize%3Aformat%3DfullWall clockabout 1880Edouard LievreBronze, gilded bronze, enamelBanjo-shaped hanging wall clock with gilt bronze case, cloisonne enamel dial and upper portion. The dial ground color is turquoise with red, white, black, and yellow enamels surrounded by a gilt frame. In the center of the face is a coiled dragon in green enamel with red, yellow, white, and black highlights. The chapter ring has Chinese numerals in black enamel set within white reserves, and the gilded hour and minute hands imitate bamboo. A dragon with a red enamel tongue descends from the upper portion. The unsigned clock movement is attached to the back of the hinged dial, which is secured by a hook at the right.http://collections.mfa.org/objects/666871/rdfhttp://collections.mfa.org/internal/media/dispatcher/1486548/resize%3Aformat%3DfullWall Light1750-1760François-Thomas GermainGilt bronze, ironOne of a pair of Louis XV rococo style wall lights with a parrot perched among three branches of scrolling laurel leaves and berries, terminating in modeled sockets and drip-pans. The backplate terminates in c-scrolls with flowers and includes the original screws.http://collections.mfa.org/objects/632043/rdfhttp://collections.mfa.org/internal/media/dispatcher/1154156/resize%3Aformat%3DfullWindow with Eight Apostles, the Pietà, and other Saintsabout 1420–35Pot-metal glass; flashed glass, and white glass with silver-oxide stain; modern limestone tracery[inscription] The glass, now in modern stonework designed after measured drawings from Hampton Court, consists of four large perpendicular lights with trefoil tops, three rectangular tracery lights with protrusions at the top and bottom, and six small triangular tracery openings. The main lights show eight Apostles arranged in two rows. Each apostle stands on a dais between the shafts of a canopy above. There is an extra row of canopies at the bottom. In three-quarter view, the Apostles, who seem to be based on two cartoons, turn to different sides. They hold attributes, and above their heads are long scrolls with inscriptions from their Creed. They stand against blue or red grounds with acanthus scrolls resembling seaweed in reserve. Their tunics are blue or red; clear glass with paint and silver stain is used for their heads, mantles, halos, at tributes, and canopies. From left to right, beginning with the top row, the Apostles are: Peter, Andrew, James Major, John, Bartholomew, Matthias, James Minor, Simon. In the three tracery lights are figures represented under fragmentary canopies: Pieta (center), Saint John the Baptist wearing a hair coat with a camel's head (left; inscribed S[AN]C[TU]S IOH[ANNES] BAPTISTA), and Saint Francis showing the stigmata (right; inscribed S[AN}C[TUS] FRANCISCUS0). The grounds are blue or red with acanthus, and the figures are colored by silver strain, except for Saint Francis, whose robe is painted brown. In the small triangular openings are frontal busts of angels in grisaille.http://collections.mfa.org/objects/52513/rdf