http://collections.mfa.org/collections/315265/objects/rdfMFA Images: Animalshttp://collections.mfa.org/internal/media/dispatcher/952367/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/589649/resize%3Aformat%3DfullAlbum page with an elephantsecond half of 16th centuryInk, gold, silver, and pale color on paperAlbum page with drawing of elephant mounted within multiple ornamental borders. Calligraphic border contains verses from Jami's Haft Awrang (Yusuf and Zulayka, part 11)http://collections.mfa.org/objects/13864/rdfhttp://collections.mfa.org/internal/media/dispatcher/758801/resize%3Aformat%3DfullAmong the Sandhills (blue sky and clouds)about 1918Arthur Wesley DowColor woodcut on Asian paperhttp://collections.mfa.org/objects/173255/rdfhttp://collections.mfa.org/internal/media/dispatcher/758800/resize%3Aformat%3DfullAmong the Sandhills (pink clouds)about 1918Arthur Wesley DowColor woodcut on Asian paperhttp://collections.mfa.org/objects/173254/rdfhttp://collections.mfa.org/internal/media/dispatcher/879234/resize%3Aformat%3DfullAmulet of a crocodile760–332 B.C.FaienceThroughout ancient Egyptian history, people wore amulets of crocodiles as protection against actual crocodiles. Amulet of pale greenish faience, unglazed, in the shape of a crocodile. Pierced at front (under head) for suspension. Several cracks, many superficial; base chipped.http://collections.mfa.org/objects/136966/rdfhttp://collections.mfa.org/internal/media/dispatcher/960546/resize%3Aformat%3DfullAmulet of a hare760–332 B.C.Faiencehttp://collections.mfa.org/objects/136309/rdfhttp://collections.mfa.org/internal/media/dispatcher/797725/resize%3Aformat%3DfullAmulet of a sow712–653 B.C.FaienceSow amulet standing in a small base, with suspension ring on the back.http://collections.mfa.org/objects/145152/rdfhttp://collections.mfa.org/internal/media/dispatcher/879232/resize%3Aformat%3DfullAmulet of a uraeus cobra760–332 B.C.FaienceFaience; pale purple color; glazed; uraeus with front elaborately decorated with incised details; base nicked; suspension ring on top.http://collections.mfa.org/objects/137470/rdfhttp://collections.mfa.org/internal/media/dispatcher/981892/resize%3Aformat%3DfullAmulet of Harsaphes (Heryshef)740–725 B.C.Cast goldhttp://collections.mfa.org/objects/37044/rdfhttp://collections.mfa.org/internal/media/dispatcher/948938/resize%3Aformat%3DfullAppliqué in the form of a running quadruped7th century B.C.Goldhttp://collections.mfa.org/objects/163762/rdfhttp://collections.mfa.org/internal/media/dispatcher/1136489/resize%3Aformat%3DfullAutomedon with the Horses of Achilles1868Henri RegnaultOil on canvashttp://collections.mfa.org/objects/31014/rdfhttp://collections.mfa.org/internal/media/dispatcher/1083809/resize%3Aformat%3DfullThe Babbling Brook1851Asher Brown DurandOil on canvashttp://collections.mfa.org/objects/33105/rdfhttp://collections.mfa.org/internal/media/dispatcher/983336/resize%3Aformat%3DfullThe Belated Kid1854–57William Morris HuntOil on canvashttp://collections.mfa.org/objects/31308/rdfhttp://collections.mfa.org/internal/media/dispatcher/1795878/resize%3Aformat%3DfullBlack Horseabout 1859Albert BierstadtOil on paper mounted on paperboardhttp://collections.mfa.org/objects/33166/rdfhttp://collections.mfa.org/internal/media/dispatcher/1203893/resize%3Aformat%3DfullBowl with hippopotamiNaqada I, 3850–3650 B.C.Pottery (Nile silt ware)The scene on this early bowl already displays many of the qualities that would become canonical in Egyptian art. Stylized hippopotami are depicted in profile, with their essential features - mouths, eyes, ears, legs, and tails - shown as discrete symbols rather than realistically; yet combined they form a visually coherent and aesthetically pleasing whole. A landscape setting is indicated both by the wavy, concentric lines of the central rosette representing a pool of water or perhaps the Nile, and by the zigzag lines around the border of the bowl that suggest cliffs on the horizon. The three hippopotami wade peacefully in the intervening space. This bowl is one of the finest examples of what is known as "cross-lined ware." It was handmade of reddish Nile silt clay, burnished, coated with a thin red slip, and then decorated with linear patterns in thick, creamy white paint. The cross-hatching for which the ware is named may initially have imitated basketry. The best artisans, however, added figures and created unique narrative scenes, many of which portray animals, such as the hippopotami seen here. The hippopotamus motif was destined to recur throughout Egyptian art, serving both as a symbol of the destructive god of chaos, Seth, and as a protective amulet to ward off danger. Other dangerous animals also occur on cross-lined pottery, particularly crocodiles, which are sometimes shown being hunted with nets. It is possible that these vessels were intended to impart the creatures' power to the vessels' owners, granting them success in the hunt and safety from danger. Most of the best examples come from tombs, and may have been made specifically as funerary offerings.http://collections.mfa.org/objects/46880/rdfhttp://collections.mfa.org/internal/media/dispatcher/786368/resize%3Aformat%3DfullBoy Tending a CowundatedAnton MauveWatercolor on paperhttp://collections.mfa.org/objects/245838/rdfhttp://collections.mfa.org/internal/media/dispatcher/1001296/resize%3Aformat%3DfullCamelCharles Théodore FrèreOil on panelhttp://collections.mfa.org/objects/32254/rdfhttp://collections.mfa.org/internal/media/dispatcher/1007756/resize%3Aformat%3DfullCamel and donkey1880sCharles ReidPhotograph, albumen print, squared in graphite for transferhttp://collections.mfa.org/objects/398646/rdfhttp://collections.mfa.org/internal/media/dispatcher/1007759/resize%3Aformat%3DfullCamel and donkey1880sCharles ReidPhotograph, albumen print, squared in graphite for transferhttp://collections.mfa.org/objects/398649/rdfhttp://collections.mfa.org/internal/media/dispatcher/915013/resize%3Aformat%3DfullCamel with musical instrument-pipaearly 7th century A.D.Earthenware with ivory-white glaze and applied motifhttp://collections.mfa.org/objects/20332/rdfhttp://collections.mfa.org/internal/media/dispatcher/957794/resize%3Aformat%3DfullCapture of a Wild Elephantabout 1775–80NainsukhOpaque watercolor on paperhttp://collections.mfa.org/objects/149066/rdfhttp://collections.mfa.org/internal/media/dispatcher/773130/resize%3Aformat%3DfullCombNaqada I (Amratian) 3850–3650 B.C.IvorySome of the earliest three-dimensional representations of humans and animals in Egyptian art appear on small, utilitarian items such as combs, pins, and cosmetic implements. Bone and ivory combs like this one, which features the head of a gazelle were probably worn as hair ornaments. They occur from the end of the Neolithic era, and reached the height of their popularity in the earliest phases of the Predynastic Period.http://collections.mfa.org/objects/140836/rdfhttp://collections.mfa.org/internal/media/dispatcher/1337279/resize%3Aformat%3DfullCosmetic box with frog600–500 B.C.FaienceBlue-green faience round box with crouching frog on swinging lid. Modern dowel. Interior divided into four wedge-shaped segments. Deep blue details on froghttp://collections.mfa.org/objects/164260/rdfhttp://collections.mfa.org/internal/media/dispatcher/798276/resize%3Aformat%3DfullCowherdmid–1880sHashimoto GahōPanel; ink and light color on paperhttp://collections.mfa.org/objects/27122/rdfhttp://collections.mfa.org/internal/media/dispatcher/1596831/resize%3Aformat%3DfullCows in a PastureMarie Diéterle Van Marcke de LummenOil on canvashttp://collections.mfa.org/objects/31865/rdfhttp://collections.mfa.org/internal/media/dispatcher/908861/resize%3Aformat%3DfullCrocodile760–332 B.C.StoneCrocodile made of dark green granite or steatite. It is polished, and the surface is somewhat scratched. The details are incised. The tail and forepaws are missing. There is a hole in the base.http://collections.mfa.org/objects/132982/rdfhttp://collections.mfa.org/internal/media/dispatcher/780101/resize%3Aformat%3DfullDappled Draught Horse Being Shodabout 1823Jean Louis André Théodore GéricaultGraphite pencil, pen and brown ink, and brush with brown and gray wash on paperStudy for the lithograph Cheval que l'on ferre, Del. 72, 1823.http://collections.mfa.org/objects/260853/rdfhttp://collections.mfa.org/internal/media/dispatcher/774836/resize%3Aformat%3DfullDe aquatilibus1553Pierre GourdelleIllustrated book with numerous hand-colored woodcuts(Paris: Charles Estienne, 1553) Octavo; 240 leaves [lacking fol. D5]; contemporary gilt-stamped calf (red cloth box).Illustrations of fish, shellfish, mollusks, whales, turtles (pp. 52-53), hippopotamus (p. 13), "monkfish" (p. 39), crocodile (p. 43), etc.http://collections.mfa.org/objects/271175/rdfhttp://collections.mfa.org/internal/media/dispatcher/981893/resize%3Aformat%3DfullDecorated spheroid jar2nd century A.D.PotterySpheroid jar with a short, narrow neck; fineware, decorated with three red and black crocodiles and a duck, scroll band of grapes below. The presence of grapes on the vessel may indicate that it was used primarily for the storage of wine.http://collections.mfa.org/objects/141578/rdfhttp://collections.mfa.org/internal/media/dispatcher/781046/resize%3Aformat%3DfullDeer and Cherry Treedated 1667 (Kanbun 7)Kano Tan'yūOne of a pair of hanging scrolls; ink and color on silkhttp://collections.mfa.org/objects/25219/rdfhttp://collections.mfa.org/internal/media/dispatcher/801408/resize%3Aformat%3DfullDeer on Chocorua1932Karl KnathsColor woodcut in white line style (monotype) on Japanese paperhttp://collections.mfa.org/objects/374930/rdfhttp://collections.mfa.org/internal/media/dispatcher/748410/resize%3Aformat%3DfullDisparate de Bestia (Animal Folly); plate from the "Disparates" (Follies) series, published in "L'Art", 1877Drawn and etched 1815–17; printed 1877Francisco Goya y LucientesEtching, burnished aquatint, and tonal scratches; posthumous impressionBlack ink, slight plate tone. Bevel(slight)Posthumous impression, printed by Francois Liénard, in "L'Art", 1877 (H. III).This plate and three others (H. 266 [a], 267 [b], and 269 [d]) became separated from the other "Disparates" and were never published in the early posthumous printing or the Academia printing of 1864 with the title "Los Proverbios". They were instead published for the first time, with some trial proofs in various inks and papers, by the printer Francois Liénard, in the French magazine "L'Art" in 1877.The preferred series title "Disparates" (Follies) is derived from manuscript titles containing the word "Disparate" on fourteen of the working proofs, of which this is one. Beruete and others invented titles containing "Disparate" for the others, except "Modo de Volar" (no. 13).http://collections.mfa.org/objects/172857/rdfhttp://collections.mfa.org/internal/media/dispatcher/909415/resize%3Aformat%3DfullDisplay figure of rabbit1824–1855Takahashi Dōhachi IIKyoto ware; white glazed stoneware with red paintESM: Yamashiro Province, Dôhachi, Second Generation, "In shape of rabbit. Nealry white clay, white glaze. Eyes colored red. _Nin-ami_ (imp.). An exquisite piece of modeling. Date: 1850. Gift of W.S. Bigelow"Morse Cat.#: 3453http://collections.mfa.org/objects/180905/rdfhttp://collections.mfa.org/internal/media/dispatcher/834919/resize%3Aformat%3DfullElephant in motion19th centuryAntoine Louis BaryeMetal; bronzeElephant in motion.http://collections.mfa.org/objects/54371/rdfhttp://collections.mfa.org/internal/media/dispatcher/835002/resize%3Aformat%3DfullElephant of Asia running1834Antoine Louis BaryeMetal; bronzeBronze with black marble base.http://collections.mfa.org/objects/54373/rdfhttp://collections.mfa.org/internal/media/dispatcher/768184/resize%3Aformat%3DfullFeeding SheepundatedFélix Saturnin Brissot de WarvilleWatercolorWatercolor on paper.http://collections.mfa.org/objects/179680/rdfhttp://collections.mfa.org/internal/media/dispatcher/589052/resize%3Aformat%3DfullFigurine of a bear1550–1070 B.C.WoodWood, dull brown; smooth surface; rude carving; cracked; left ear and three feet missing.http://collections.mfa.org/objects/134365/rdfhttp://collections.mfa.org/internal/media/dispatcher/1325134/resize%3Aformat%3DfullFinger ring in the form of a rearing cobra100–320SilverThe burial chamber of this tomb was unplundered and a significant amount of jewelry was recovered. There were rings on both hands and in boxes. This ring, in the form of a uraeus, was found on the right hand. It one had champleve enamel.http://collections.mfa.org/objects/145316/rdfhttp://collections.mfa.org/internal/media/dispatcher/935842/resize%3Aformat%3DfullFox in a Trapabout 1855-65Constant TroyonOil on canvashttp://collections.mfa.org/objects/31870/rdfhttp://collections.mfa.org/internal/media/dispatcher/801374/resize%3Aformat%3DfullThe Garden of Edenabout 1860Erastus Salisbury FieldOil on canvashttp://collections.mfa.org/objects/33347/rdfhttp://collections.mfa.org/internal/media/dispatcher/1781100/resize%3Aformat%3DfullGiraffeabout 1836Unidentified artist, American, 19th centuryStencil and watercolor over graphite on paperFolk art- various. Standing btwn. two trees; plant left, with flowers in long racemes; bunches of grapes above, hanging from vine around branch of tree.http://collections.mfa.org/objects/4840/rdfhttp://collections.mfa.org/internal/media/dispatcher/776733/resize%3Aformat%3DfullGoats1865Emile van Marcke de LummenPen and watercolor on paperhttp://collections.mfa.org/objects/178621/rdfhttp://collections.mfa.org/internal/media/dispatcher/1643944/resize%3Aformat%3DfullGroup of Merino Sheepafter 1879Noah Wesley WinelandBlack chalk and colored crayons, with iron gall ink inscriptionFolk art- various. Ram, ewe and lamb in foreground of rolling pasture with stream and scattered trees.http://collections.mfa.org/objects/173581/rdfhttp://collections.mfa.org/internal/media/dispatcher/944999/resize%3Aformat%3DfullHares and Autumn Full MoonSuzuki HarunobuWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/232252/rdfhttp://collections.mfa.org/internal/media/dispatcher/1208403/resize%3Aformat%3DfullHerd-boys with water buffaloes under willow trees14th centuryZhang Fu 舊傳 張符Ink and color on paperhttp://collections.mfa.org/objects/28219/rdfhttp://collections.mfa.org/internal/media/dispatcher/986928/resize%3Aformat%3DfullHippopotamus amuletafter 30 B.C.GoldGold amulet in the form of a standing hippopotamus on a flat base.http://collections.mfa.org/objects/146182/rdfhttp://collections.mfa.org/internal/media/dispatcher/869692/resize%3Aformat%3DfullHippopotamus figurine1991–1640 B.C.FaienceLight blue faience with details in black.http://collections.mfa.org/objects/141797/rdfhttp://collections.mfa.org/internal/media/dispatcher/839266/resize%3Aformat%3DfullHorseabout 750 B.C.BronzeThe crossbar at the front legs is joined on to the front of the hooves; the bar at the back runs from the back of the left hoof only as far as the tail, where the latter touches the bar and the right hoof. He stands, alert on his four straight legs; his blade-like neck rises in an elegant curve, suggesting a mane like a rooster's comb. An incised concentric circle marks the eye and is repeated for dapples on neck, shoulder, and flank. The blunderbuss head and long tail are characteristic, the latter joining the bar running between the hind hooves. The lack of ears is unusual. Dark to medium green patina, hard and with earth encrustation on it.http://collections.mfa.org/objects/152650/rdfhttp://collections.mfa.org/internal/media/dispatcher/849070/resize%3Aformat%3DfullHorse amulet7th–4th century B.C.BronzeAmulet, in the form of a horse with a large collar. Green patina. Suspension ring on collar.http://collections.mfa.org/objects/244557/rdfhttp://collections.mfa.org/internal/media/dispatcher/804494/resize%3Aformat%3DfullHorse with Saddle from the series Anthology of Works by Six Celebrated Western-style Painters (Roku taika gassaku)1906Mitsutani KunishiroColor lithograph; ink on card stockhttp://collections.mfa.org/objects/394520/rdfhttp://collections.mfa.org/internal/media/dispatcher/1330865/resize%3Aformat%3DfullInlay of a hyena1700–1550 B.C.Hippopotamus ivoryThis ivory inlay is one of five depicting hyenas that formed the bottom row of a panel at the foot of a wooden (ebony ?) funerary bed. Incised lines are used for details, which may originally have been filled with pigment. The mouth is a zigzag line, arcs give form to the body, and notches along the edges of the back and tail are used for fur. This inlay forms a set that includes objects 13.4219-13.4223.http://collections.mfa.org/objects/315948/rdfhttp://collections.mfa.org/internal/media/dispatcher/896013/resize%3Aformat%3DfullInlay of an ibex1700–1550 B.C.IvoryOne of seven ibexes that once formed the top row of a panel at the foot of an ebony (?) bed. Belongs with 13.4219-23.http://collections.mfa.org/objects/315943/rdfhttp://collections.mfa.org/internal/media/dispatcher/805467/resize%3Aformat%3DfullIvory inlay of an elephantabout 1700–1550 B.C.IvoryFrom Classic Kerma. Ivoryhttp://collections.mfa.org/objects/144891/rdfhttp://collections.mfa.org/internal/media/dispatcher/782558/resize%3Aformat%3DfullLe Jockey1899Henri de Toulouse-LautrecColor lithograph printed in black, turquoise-green, red, brown, grey-beige and blue inkhttp://collections.mfa.org/objects/87758/rdfhttp://collections.mfa.org/internal/media/dispatcher/1165704/resize%3Aformat%3DfullLandscape near DieppeConstant TroyonOil on canvashttp://collections.mfa.org/objects/30931/rdfhttp://collections.mfa.org/internal/media/dispatcher/1109883/resize%3Aformat%3DfullLandscape with Goatsabout 1660Adam PijnackerOil on canvashttp://collections.mfa.org/objects/33913/rdfhttp://collections.mfa.org/internal/media/dispatcher/830377/resize%3Aformat%3DfullLandscape with Shepherd and SheepundatedAnton MauveWatercolor on paperWatercolor.http://collections.mfa.org/objects/240614/rdfhttp://collections.mfa.org/internal/media/dispatcher/1021300/resize%3Aformat%3DfullMan Leading a Horselate 16th centuryOpaque watercolor and gold on paperhttp://collections.mfa.org/objects/148535/rdfhttp://collections.mfa.org/internal/media/dispatcher/830302/resize%3Aformat%3DfullMenuki in the form of a reclining deermid-19th centuryÔtsuki SchoolMain material: shibuichi; other metals: gold, silver and shakudo; decorative technique: uchidashi, takabori, takazoganhttp://collections.mfa.org/objects/9870/rdfhttp://collections.mfa.org/internal/media/dispatcher/830304/resize%3Aformat%3DfullMenuki in the form of a tortoisemid to late 19th centuryMain material: shibuichi (?); decorative technique: kataborihttp://collections.mfa.org/objects/9872/rdfhttp://collections.mfa.org/internal/media/dispatcher/1009948/resize%3Aformat%3DfullMountain goat3100–2900 B.C.Silver and sheet goldFigurine of mountain goat. Face gold-plated and also two attached curls on legs. One curl missing. Head made separate. Incised lines on side of body and leg incised on underside.http://collections.mfa.org/objects/155898/rdfhttp://collections.mfa.org/internal/media/dispatcher/1164052/resize%3Aformat%3DfullNewborn Lamb1866Jean-François MilletPastel and black conté crayon on beige wove paperhttp://collections.mfa.org/objects/31629/rdfhttp://collections.mfa.org/internal/media/dispatcher/860432/resize%3Aformat%3DfullNew Year's Card: Snow Rabbit1927 (Shōwa 2)Artist unknown, JapaneseColor lithograph; ink on card stockhttp://collections.mfa.org/objects/421375/rdfhttp://collections.mfa.org/internal/media/dispatcher/860439/resize%3Aformat%3DfullNew Year's Card: Snow Rabbit1927Artist unknown, JapaneseColor woodblock; ink on card stockhttp://collections.mfa.org/objects/421382/rdfhttp://collections.mfa.org/internal/media/dispatcher/848283/resize%3Aformat%3DfullNew Year's Card: Two Rabbits, from an unidentified series of rabbitsYoshimura HōryūColor lithograph; ink on card stockhttp://collections.mfa.org/objects/413063/rdfhttp://collections.mfa.org/internal/media/dispatcher/848288/resize%3Aformat%3DfullNew Year's Card: Two Rabbits in the Bush, from an unidentified series of rabbitsYoshimura HōryūColor lithograph; ink on card stockhttp://collections.mfa.org/objects/413068/rdfhttp://collections.mfa.org/internal/media/dispatcher/848285/resize%3Aformat%3DfullNew Year's Card: White Rabbit on the Ground, from an unidentified series of rabbitsYoshimura HōryūColor lithograph; ink on card stockhttp://collections.mfa.org/objects/413065/rdfhttp://collections.mfa.org/internal/media/dispatcher/1164054/resize%3Aformat%3DfullPeasant Girl with Two Cows1863Jean-François MilletBlack conté crayon and pastel on beige laid paperhttp://collections.mfa.org/objects/31632/rdfhttp://collections.mfa.org/internal/media/dispatcher/1317465/resize%3Aformat%3DfullPendant with ram-headed sphinx on a column743–712 B.C.Gilded silver, lapis lazuli, and glassLarge amulet of a ram-headed lion sitting on column, with red, green, and blue glass inlays in cloisons of gilt silver. Sphinx lacks one horn, and suspension ring.http://collections.mfa.org/objects/145866/rdfhttp://collections.mfa.org/internal/media/dispatcher/1011866/resize%3Aformat%3DfullPendant with ram-headed sphinx on a column743–712 B.C.Gilt silver; peridotiteAmulet in the form of a criosphinx (a lion's body with ram's head and wings) sitting atop a pillar with a palm capital. The creature is a form of the god Amun of Gebel Barkal. A metallic projection on head for attaching headdress is now missing.http://collections.mfa.org/objects/145868/rdfhttp://collections.mfa.org/internal/media/dispatcher/1007761/resize%3Aformat%3DfullPig1880sCharles ReidPhotograph, albumen print, squared in graphite for transferhttp://collections.mfa.org/objects/398651/rdfhttp://collections.mfa.org/internal/media/dispatcher/602271/resize%3Aformat%3DfullPitcher (oinochoe)about 320–310 B.C.Ceramic, Red FigurePrincipal design: Pegasus (white, details in yellow) galloping to left. Field filled with conventional decoration. Painted over in places.The high-swung handle has a double ridge. The foot is "terraced" in four degrees and has a tall reserved stem. A hole passes through the foot of the vase. The mouth has a grooved rim.ITALIAN VASE PAINTING in ITALY, # 71 - (89.275)Oinochoe (shape 1)Attributed to the White Sakkos Painter(The Chariot Group)about 320-310 B.C.Pegasus, painted in white, with details in yellow, gallops to the left over a flowering plant; a similar plant grows at right. He is not flying, for his left rear hoof touches the dotted groundline. The field is filled with a variety of conventional filling ornaments: rosettes, ivy leaves, fillets, and phialai, all touched with added white or yellow or both. Two reserved stripes circle the lower body. There are large palmettes on the sides and back and a wave-pattern at the base of the handle. On the shoulder is a band of dotted egg-pattern, and there are white rays on the nect below three horizontal lines. for the White Sakkos Painter, see comments on cat. no. 69. The vases of the Charior Group are from his mature phase, when large oinochoai were a favored shape. Trendall and Cambitoglou list eight more examples with this subject: RVAp.II, p. 975, nos. 29/180, 29/181, 29/181a, 29/182; RVAp, Suppl. 1, p. 188, no. 29/182a-b; RVAp, Suppl. II, p. 363, nos.29/182 c-d.http://collections.mfa.org/objects/154067/rdfhttp://collections.mfa.org/internal/media/dispatcher/1092248/resize%3Aformat%3DfullPitcher (oinochoe) in the Wild Goat style, with bands of flowers, animals, and birds620–580 B.C.CeramicMilesian Wild Goat Style oinochoe with trefoil mouth. From bottom to neck three bands: (1) lotus flowers and buds; (2) dog pursuing six goats; (3) palmettes, griffins, geese and goats. Creamy slip. Handle repaired.Body flares from base; well-defined shoulder, trefoil mouth.Wild Goat Style is an "Orientalizing" (using motifs originating in the Near East) animal frieze style of East Greece. The style particularly involves repetitive animal friezes, especially featuring wild goats; dense use of filler motifs, especially floral motifs (often rosettes); subsidiary patterned friezes (guilloche, lotus or bud friezes); and large floral centerpieces (spirals, lotus, palmettes). This oinochoe is Milesian. Miletos was a major producer and exporter of fine, painted pottery like this; other subregions of East Greece also produced Wild Goat Style vases.http://collections.mfa.org/objects/154590/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030889/resize%3Aformat%3DfullPlate with ram on a mountain topA.D. 400–699Silver with mercury-gilded detailshttp://collections.mfa.org/objects/155820/rdfhttp://collections.mfa.org/internal/media/dispatcher/778920/resize%3Aformat%3DfullPottery vessel in form of a bull999–900 B.C.PotteryVessel in the form of a bull, incorporating both handmade and wheelmade elements. The hand-modeled body is ovoid, but pinched at the center to give it a slightly hourglass shape. A wheelmade funnel has been set into the top. The neck and horns are are handmade, but the head is wheelmade and serves as the spout.http://collections.mfa.org/objects/164606/rdfhttp://collections.mfa.org/internal/media/dispatcher/936494/resize%3Aformat%3DfullRabbitlate 19th centurySuzuki ShōnenHanging scroll; ink and light color on silkhttp://collections.mfa.org/objects/26839/rdfhttp://collections.mfa.org/internal/media/dispatcher/1752906/resize%3Aformat%3DfullRabbit1831–95Isaac SpragueOpaque watercolor on paperOvalhttp://collections.mfa.org/objects/263148/rdfhttp://collections.mfa.org/internal/media/dispatcher/1007647/resize%3Aformat%3DfullRabbit amid Ferns and Flowering Plants1855William J. WebbeOil on canvashttp://collections.mfa.org/objects/34464/rdfhttp://collections.mfa.org/internal/media/dispatcher/1808301/resize%3Aformat%3DfullRabbitsRichard GaywoodEtchinghttp://collections.mfa.org/objects/77934/rdfhttp://collections.mfa.org/internal/media/dispatcher/924888/resize%3Aformat%3DfullRabbits and Pine1855 (Ansei 2)Kishi GantaiHanging scroll; ink and color on silkhttp://collections.mfa.org/objects/26798/rdfhttp://collections.mfa.org/internal/media/dispatcher/1094910/resize%3Aformat%3DfullRabbit Warren, Dawn1867Jean-François MilletPastel and black conté crayon on cream wove paperhttp://collections.mfa.org/objects/31638/rdfhttp://collections.mfa.org/internal/media/dispatcher/1540790/resize%3Aformat%3DfullRacehorses at Longchamp1871, possibly reworked in 1874Edgar DegasOil on canvashttp://collections.mfa.org/objects/31229/rdfhttp://collections.mfa.org/internal/media/dispatcher/731987/resize%3Aformat%3DfullRhinoceros1515Albrecht DürerWoodcut with letterpresshttp://collections.mfa.org/objects/434/rdfhttp://collections.mfa.org/internal/media/dispatcher/731898/resize%3Aformat%3DfullRhinocerosafter 1620Albrecht DürerChiaroscuro woodcut, printed from two blocks in black and blue-greenhttp://collections.mfa.org/objects/435/rdfhttp://collections.mfa.org/internal/media/dispatcher/732010/resize%3Aformat%3DfullThe Rhinoceros1515Albrecht DürerWoodcuthttp://collections.mfa.org/objects/660/rdfhttp://collections.mfa.org/internal/media/dispatcher/780767/resize%3Aformat%3DfullRhyton in the form of a goatabout 5th century B.C.BronzeBronze rhyton in the shape of a goat with handle in the form of a hound.http://collections.mfa.org/objects/322316/rdfhttp://collections.mfa.org/internal/media/dispatcher/953090/resize%3Aformat%3DfullRhyton in the form of an Amazon riding a horseabout 440 B.C.SotadesCeramic, Red FigureTraces of paint are still visible on the seated figure, the horse, and the base. The mounted figure wears a helmet with a large, crested plume and a large ear-like appendages on the sides. The redware rhyton depicts four figures (Persians and Greeks) in combat. It is signed on the base by Sotades the potter. http://collections.mfa.org/objects/144210/rdfhttp://collections.mfa.org/internal/media/dispatcher/924922/resize%3Aformat%3DfullScenes in the Four Seasons1871 (Meiji 4)Mori IppōOne from a set of six hanging scrolls; ink and color on paperhttp://collections.mfa.org/objects/26879/rdfhttp://collections.mfa.org/internal/media/dispatcher/757290/resize%3Aformat%3DfullSeated Sekhmet1390–1352 B.C.GranodioriteSekhmet with the head of a lioness seated on square seat, holding ankh in left hand. Inscription of Amenhotep III.http://collections.mfa.org/objects/135691/rdfhttp://collections.mfa.org/internal/media/dispatcher/679156/resize%3Aformat%3DfullSeaweed Gathererbefore 1874Anton MauveOil on panelhttp://collections.mfa.org/objects/32049/rdfhttp://collections.mfa.org/internal/media/dispatcher/780227/resize%3Aformat%3DfullSheep1961Jacques HnizdovskyWoodcut© 2023 Hnizdovsky Trust / Artists Rights Society (ARS), New York.http://collections.mfa.org/objects/166348/rdfhttp://collections.mfa.org/internal/media/dispatcher/1808302/resize%3Aformat%3DfullSheepRichard GaywoodEtchinghttp://collections.mfa.org/objects/359061/rdfhttp://collections.mfa.org/internal/media/dispatcher/754167/resize%3Aformat%3DfullSheep and Shepherd in a Landscapeabout 1854Constant TroyonOil on canvashttp://collections.mfa.org/objects/30932/rdfhttp://collections.mfa.org/internal/media/dispatcher/845223/resize%3Aformat%3DfullSitting Woman with a White Rabbit on Her Knee (from an unidentified series)Artist unidentified, JapaneseColor lithograph; ink on paperhttp://collections.mfa.org/objects/403935/rdfhttp://collections.mfa.org/internal/media/dispatcher/1009301/resize%3Aformat%3DfullSleeping Cat and Butterflies from the album Birds and Flowersfirst half of the 19th centuryArtist unknown, JapaneseOne leaf of an eighteen-fold album; ink and color on silkhttp://collections.mfa.org/objects/24166/rdfhttp://collections.mfa.org/internal/media/dispatcher/1007760/resize%3Aformat%3DfullSmall horse with donkey1880sCharles ReidPhotograph, albumen print, squared in graphite for transferhttp://collections.mfa.org/objects/398650/rdfhttp://collections.mfa.org/internal/media/dispatcher/761048/resize%3Aformat%3DfullSmall woven picture titled "The Finish"19th centurySilk weavingShows horserace, spectator's stands and finish line in background; woven with polychrome silks on white ground; mounted in cardboard mat; on reverse, printed list of Stevenograph pictures.http://collections.mfa.org/objects/256281/rdfhttp://collections.mfa.org/internal/media/dispatcher/1405592/resize%3Aformat%3DfullSow at bay2nd century B.C.–1st century A.D.Bronze with silverThe sow is about to crouch backwards, as if to spring. The mouth is open, and the tongue and upper teeth show. The eyes are inlaid in silver, and the fur or bristles are carefully cast and chasened. Nipples underneath the barrel-shaped belly confirm its gender and hint at fertility. Green and brown patina. Encrusted.http://collections.mfa.org/objects/152727/rdfhttp://collections.mfa.org/internal/media/dispatcher/780341/resize%3Aformat%3DfullStag in Winter Moonlight (Stag at Fontainebleu)about 1857William Morris HuntLithographhttp://collections.mfa.org/objects/99711/rdfhttp://collections.mfa.org/internal/media/dispatcher/981898/resize%3Aformat%3DfullStatuette of a deer nursing her fawn750–700 B.C.BronzeThis small bronze statue depicts an intimate moment of a deer nursing her fawn. Both animals are represented with reduced forms, particularly noticeable in their long slender legs and extended snouts. The deer is decorated with a series of stamped concentric circles on her haunches, front legs, and antlers. The same circles also stand in for her eyes. A bird perches on the rump of the deer, facing towards the left. The underside of the base on which the deer and her fawn stand is decorated with a meander pattern.http://collections.mfa.org/objects/152647/rdfhttp://collections.mfa.org/internal/media/dispatcher/861687/resize%3Aformat%3DfullStatuette of Apis bull760–332 B.C.Bronzehttp://collections.mfa.org/objects/163653/rdf